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ABBA’s Voyage: track-by-track review

Sde’s verdict on the new album.

By Paul Sinclair

Don’t know if you’ve heard the news, but ABBA have a new album out. It’s called Voyage and SDE offers it’s verdict on the new 10-track long-player.

I Still Have Faith In You

This opening number is an ABBA 2021 mission statement, of sorts. It’s an openly sentimental number about friendship, doubt, faith, togetherness and longevity. Benny, Björn, Agnetha and Frida tick every single box when it comes to relationships (friends, lovers, wives/husbands, parents, workmates, ex-wives/husbands) and so their feelings towards each other must be deep, layered, complex and rich.

This song could easily have been a simple and straightforward piano ballad, but with ABBA there is always musical ambition, construction, building blocks and different elements to keep you interested. The first two minutes are about rumination. I still have faith in  you  but “do I have it in  me ?” And then at around the two minute mark the questions are answered with a triumphant ‘chorus’ section: “ We do have it in us / New spirit has arrived / The joy and the sorrow / We have a story / And it survived “. Things calm down at the end and we are back to Frida, piano and some strings.

One gets the feeling that this was a song that they  needed  to sing. It sounds like ABBA, which is obviously important, and there’s plenty to enjoy including Frida’s superb lead vocal, some strong melodies and even a hint of ‘Fernando’ drums at one point. The triumphant – somewhat bombastic – section is probably the weakest part of the song but it’s hard not to be moved by the sentiment, which declares “We alive, we’re back and we’re ABBA!” 4/5

When You Danced With Me

This is a Celtic-themed, mid-paced jig which ties in with the lyrical narrative of a guy who abandons his girl and leaves Kilkenny (a county in southeast Ireland, geography fans!) to go to the city – or the “outside world” as it’s described later in the song! The narrator has a good line in passive aggression (“so you left for the city, I hope you like it there”) but she gets her hopes up when he returns for “the village fair” (“could it be / you miss the good times when you danced with me”).

We never find out what happens but presume he’s ‘moved on’. To be honest, the guy might be well advised to get a restraining order out on the narrator, or a least check his legal position, if he wants to drop in on next year’s “village fair”.

The lyric is harmless fluff, but the music is enjoyable enough and ‘When You Danced With Me’ has the ‘clap along’ quality during the verses and resolves nicely into the payoff line and the catchy cèilidh post-chorus instrumental section. The song doesn’t outstay its welcome and is done and dusted in less than three minutes. 4/5

Little Things

ABBA’s unabashed Christmas song! It’s easy to mock a number like ‘Little Things’, but a lot harder to write such a festive ditty. The melody is precision-engineered, in true ABBA style, and wanders off-piste delightfully to the higher end of Agnetha and Frida’s vocal range (“and why don’t we stay in bed for a while”) before coming back around again. Benny and Björn have really aced the self-given brief here and the song’s structure, arrangement and the vocal performance are all of a very high quality. ‘Little Things’ is not crass, it’s gentle, and even when the children’s choir come in at the end, it’s far from overblown and actually introduces some new Christmas Carol-style melody lines. This song is certainly high up the running order of Voyage , but shoving it towards the end of the record would have spoiled the ‘Ode To Freedom’ finale. ‘Little Things’ is one of the most accomplished tracks on the record. 4.5/5

Just A Notion

‘Just A Notion’ sees ABBA revive an outtake from 1978’s Voulez Vous . The original remains unreleased, aside from a snippet being included in 1994’s Thank You For The Music four-CD set by way of the ‘ ABBA Undeleted ‘ medley. The version on Voyage uses the original vocals but apparently replaces most of the instrumentation. There’s a good time, Chas & Dave charm to this mid-paced track, although ironically, sometimes the old vocals feel somewhat buried in the slightly muddy mix and you wonder why they didn’t just alter the key (if necessary) and re-record the whole thing. Still, by definition this is the most like ABBA from ‘the old days’ because it mostly is ABBA from the old days. 3.5/5

Don’t Shut Me Down

This Agnetha-led first person narrative starts beautifully with some wonderful words describing our protagonist hanging around in the park waiting to go and confront her man. There are rich strings, a harp, some ‘ooh, oohs’ and just before you start to wonder if this heading towards ‘ballad land’, a Benny piano glissando and some vaudeville-style saxophone transform ‘Don’t Shut Me Down’ into a wonderful perky, mid-paced pop song which has the bounce of  The Visitors ‘ ‘Head Over Heels’ and the knowing lyric of ‘The Day Before You Came’.

‘Don’t Shut Me Down’ is brilliant and doesn’t put a foot wrong, most noticeably in the extremely catchy chorus which combines words and melody beautifully. It’s a great idea to put the women in the position to challenge and confront the man, even if she’s acknowledging she was a bit of a pain before. She goes to his flat and says “ And now you see another me, I’ve been reloaded, yeah / I’m fired up, don’t shut me down “. The next line rather suggests Björn was a fan of Christopher Nolan’s 2010 film  Inception : “ I’m like a dream within a dream that’s been decoded “.

The song flows effortlessly from that preface in the park, to the verses as the narrator confronts who we presume is her ex, to the defiant choruses. There’s a skilful post-chorus section which brings things down and eases us gently back to the verses via that swaggering sax and some strings.

The whole thing is classic ABBA and I’m convinced if this was a single from  Super Trouper  or  The Visitors  it would have been a major hit. And let’s be clear, it sounds a lot like ABBA from 1980/81, which in itself is a remarkable achievement. 5/5

I Can Be That Woman

A slow-paced ballad with Agnetha on lead vocals, ‘I Can Be That Woman’ disconcertingly spends much of the first verse focused on the family dog, ‘Tammy’. The poor thing is stuck in the middle of a relationship crisis and god knows what her fella has trained the mutt to do (“she jerks every time you swear”).

I know ABBA came first, but this song sounds quite Roxette -esque when Agnetha sings “And then you wake up and you’re bleary-eyed / I say I’m sorry, I can see you’ve cried”. In truth, the verse melody is a little bit pedestrian and doesn’t even scan well in places (“Then you curse and kick a chair”) which feels a bit lazy. The chorus is better, although rather like ‘Don’t Shut Me Down’, the lyric is arguably a little bit ‘old-fashioned’ in places (if you are being generous) or sexist (if you’re not) with the woman taking much of the blame and being prepared to change (although, to be fair, she does sing “You’re not the man you should have been” as well).

One of the weaker tracks on the album, this awkward, family drama lyric could have been saved by some pace and a decent tune, but sadly not. 3/5

Keep An Eye On Dan

‘Keep An Eye On Dan’ depicts another family in crisis. This time it’s not Tammy, but ‘Dan’ who is stuck-the-middle-with-you. I’m making the assumption that Dan is a human and not a canine. This song is basically about a joint custody arrangement (“I’ll be back at on Sunday to get him”) with the woman asking her estranged partner to keep an eye on their son – i.e. don’t go to the pub and leave him on his own, you stupid bastard!

Lyrically, it’s almost as weird as ‘I Can Be That Woman’, but this song is MUCH more fun, thanks to some pace, some great synths and a strong melody and arrangement. Bonus points for Benny and Björn evoking ABBA of old with the melody of the line “He throws me his ‘go-mummy’ kiss” and at the end, with a piano motif that references ‘S.O.S.’. 4/5

‘Bumblebee’ imagines a world without, er, Bumblebees, and is pure ‘Fernando’ at the beginning , with recorders and flutes set to acoustic guitars and warm synth pads. It’s a simple little song that reminds us of the pleasures and importance of the Bumblebee and then moves on to consider it “quite absurd” that the pace of change in the world might be “too fast” for this social insect to adapt. ‘Bumblebee’ is sweet and innocent and raises serious global concerns in an almost childlike manner. Frida sings wonderfully and the arrangement is perfect with military drum rolls, acoustic guitar figures, orchestral flourishes and the odd dramatic timpani. Very ABBA. 3.5/5

No Doubt About It

Good though ‘Bumblebee’ is, ‘No Doubt About It’ is some welcome biscuits and cheese after the sweetness of the song it follows. This is a rollicking, fast-paced number with handclaps, pumping bass and a strident vocal delivery and melody. ‘No Doubt About It’ is very hooky and starts with the strong and memorable chorus line (“I messed it up, alright / And there’s no doubt about it”) before going into the equally good verse and brilliant pre-chorus break (“Well, then why, do I let it upset me..”). ‘No Doubt About It’ doesn’t put a foot wrong although it’s hard not to notice that the woman is taking the blame again (“Björn, take a seat on the psychologist’s couch…”). No matter, a brilliant pop song. 4/5

Ode To Freedom

The last ABBA song on probably the last ABBA album, ‘Ode to Freedom’ is a waltz that owes a fair debt to Tchaikovsky’s Swan Lake . There’s a stately grandeur to this orchestral closing statement, that’s very moving if you are a big ABBA fan. Agnetha and Frida’s voices blend beautifully, both with each other, and with the music. Björn’s thoughtful lyric is also very good, because within it the narrator expresses doubt and ponders what his/her ‘Ode to Freedom’ might be like, should they ever write it. It would be “simple… not pretentious, but with dignity”. In many ways it’s a line that encapsulates how ABBA went about their business in the 1970s and describes the pop music they have given the world. Almost as good an ending to an ABBA album as ‘Like An Angel Passing Through My Room’, but not quite. 4.5/5

Let’s be clear (as politicians like to say), Voyage isn’t the album ABBA would have made after The Visitors if they hadn’t called it a day. The band were finessing their sound in the late Seventies and altering their approach to arrangements and songwriting, album-by-album. This ultimately ended up with the synth-laden masterpiece that was the 1981 studio album, and the standalone single ‘Under Attack’, with its notable use of a vocoder. Look to something like Murray Head’s ‘One Night in Bangkok’ from the Chess musical (co-written and co-produced by Benny and Björn with Tim Rice), if you want to imagine how ABBA might have sounded in 1983 or 1984.

What the band have chosen to do in 2021 is release an album of mostly new songs that together sound like an ABBA ‘greatest hits’, not in terms of the quality of the tracks (although they are largely pretty good), but in terms of the style, sounds and arrangements that go a long way to defining ABBA. If the band told you that these were ALL outtakes from various albums from the 1970s, you would believe them, and that is the key to the success of ABBA’s Voyage . It has the group’s DNA running through all aspects of the record. It does not contain ten songs of the quality of ‘Don’t Shut Me Down’, but that’s okay because Super Trouper didn’t have ten songs of the quality of ‘The Winner Takes It All’, either.

Voyage ‘s weaknesses are its strengths, because while ABBA were unstoppable and unrelenting when it came to near-perfect hit singles, their albums never quite reached the same heights and more often than not had the odd dodgy song, weird lyric, or ill-advised digression. Even The Visitors had ‘Two For The Price Of One’ (although I actually like that song). And so it is with Voyage . Björn’s much publicised comment that the album was recorded “trend-blind” is the secret to the album’s success. Voyage ‘s musical reference points end in 1981 and rather than move on from The Visitors , arguably they’ve stepped back a bit. It’s as if Benny and Björn wrote the name of every ABBA song they’d ever written on pieces of paper, put them all into a hat and picked nine of them out at random; on each occasion declaring: “we will write a song for Voyage that sounds like this !”.

Voyage is more than an ABBA-badged record. It feels like ABBA, sounds like ABBA, and – at the risk of stating the obvious – is ABBA. The band left us in our own ‘Kilkenny’ in the early eighties and we always hoped they’d return “next year” but they never did. Now they’re back. Will you dance with me? Voyage album rating: 4/5

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The First New ABBA Album in 40 Years Was Worth the Wait

By Rob Sheffield

Rob Sheffield

Nearly 40 years ago, Abba were in the studio for one last time, to cut a tragic ballad called “The Day Before You Came.” They knew this was goodbye; both couples in the group had finalized their divorces. Agnetha Fältskog recited a bleak tale of total emotional isolation, words scripted by her ex-husband, doing her vocals in a darkened studio with all the lights out. It was the last thing they ever recorded. A splendidly melodramatic finale for this most melodramatic of pop groups. And that—as far as the world knew—was that for Abba. Until now.

So how the hell did this happen? The Swedish super troupers ride again with Voyage , and there’s never been a comeback story like this one: all four original members of a great pop band, reuniting after 40 years apart, with all their powers intact. This album would be a one-of-a-kind historic event even if the songs blew—but it’s vintage Abba, on par with their classic 1970s run. It evokes the days when the Norse gods ruled the radio, combining two of the Seventies’ hottest trends: heartbreak and sequin-studded pantsuits. 

For Bjorn, Benny, Anna-Frid and Agnetha, their last album was the 1981 gem The Visitors , a frosty electro concept album of synth-pop paranoia and mid-life despair. Their tunes were as cheery and bouncy on the surface as prime Elton John, making them the world’s best-selling act, but loaded with Leonard Cohen levels of angst. Who else would put a song called “Disillusion” on their first album? 

But since then, the Abba legacy has just kept booming. Each generation falls in love with their hits all over again. They helped invent goth—you can’t imagine Joy Division or the Cure or Berlin-era Bowie without “S.O.S.” They taught Kurt Cobain how to write hooks. If the pop-star scale goes from “obscure” to “legendary,” Abba zoom right off the chart and land on “Cher tribute album, right after the scene in * Mamma Mia 2 * where she steps out of a helicopter to belt ‘Fernando.’”

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Voyage piles on the tragic drama—it’s a whole album of “The Winner Takes It All,” without any “Mamma Mia” or “Take a Chance On Me.” They were always in love with adult gloom, going back to the divorced-mom power chords of “Knowing Me, Knowing You” or “Hey Hey Helen.” As Pete Townshend told Rolling Ston e in 1982, when he shocked the world by coming out as an Abba fan, “Abba was one of the first big international bands to actually deal with sort of middle-aged problems in their songwriting.” And that was in their younger days. Now that they’re all past 70, they haven’t exactly lost their appetite for emotional-crisis soundtracks. 

As always, Bjorn Ulvaeus and Benny Andersson write the songs, but now they leave the singing to the ladies, Faltskog and Anna-Frid Lyngstad. They put Voyage together while plotting their 2022 “virtual” live residency in London. These concerts won’t have mere holograms—instead, they’ve got what Benny and Bjorn call “Abba-tars.” 

“Don’t Shut Me Down” is the prize of the new tunes: Agnetha prowls outside her ex’s home, waiting for the right moment to knock on his door for the first time in years and seduce him. It’s a completely over-the-top scenario—just Abba’s specialty—in the style of their Seventies disco bangers, complete with “Dancing Queen” piano frills. Agnetha takes satisfaction in noticing that her ex hasn’t redecorated since she left, because “These rooms were witness to our love / My tantrums and increasing frustration.” (Could there be a more Abba lyric? No, there could not.)

“No Doubt About It” goes for Eighties synth glitz, while “Just a Notion” is a frisky Seventies leftover—a Voulez Vous outtake with vocals recorded in 1978. The fact that vocal tracks from four decades ago fit seamlessly with the new ones—it’s a tribute to Abba’s obsessive machine-tooled precision. “I Could Be That Woman” is a lavish ballad where a woman watches her estranged lover cuddle someone named Tammy—it turns out to be his dog. The couple argues (“You say you’ve had it and you say ‘screw you’”), while the dog watches and judges them. The dog might be the most emotionally stable character on the album. But like all the couples in these songs, this one has a long, tortured history with no happy ending in sight. You can’t say Abba don’t stay true to their vision.

It wouldn’t be an authentic Abba album without some stomach-churning filler, so beware before you brave the Christmas ditty “Little Things.” But otherwise, Voyage reflects how far these four have traveled, musically and emotionally. There’s no embarrassing attempt to get up to date with the bops the kids are into these days, a compliment to their integrity. Instead of chasing trends, they stick to the classic sound they perfected years ago, the sound that has kept influencing modern pop ever since. As they once sang, the history book on the shelf is always repeating itself.

When the woman in “Don’t Shut Me Down” knocks on that guy’s door, her greeting is, “I would believe it’s fair to say you look bewildered.” And indeed, it’s a surprise to have these Swedes back in the game. But it’s a bigger, sweeter surprise that they returned so full of musical vitality. All these years after “Waterloo,” Abba still refuse to surrender.

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ABBA Voyage setlist: Full list of songs performed at ABBA's hologram show

ABBA 's music undeniably transcends decades; its universal appeal bringing cross-generational joy the world over. And now, after announcing their ground-breaking ABBA Voyage show at its purpose-built ABBA Voyage Arena in London's Pudding Mill Lane last year, the spectacle is finally open to fans.

Featuring Agnetha Fältskog, Björn Ulvaeus,  Benny Andersson and Anni-Frid Lyngstad's classic back catalogue, plus tracks from the group's chart-topping 2021 record Voyage , the show uses digital 'ABBAtars' and invites fans to immerse themselves in a 360-degree experience.

The band saw significant uplift on the Official Albums Chart as the show garnered rave reviews, too. Their Gold - Greatest Hits collection recently returned to the Top 10, with Voulez-Vous also proving particularly popular .

If you're going along to one of the shows and want to know what you can expect, we reveal the entire setlist below. Oh, and there's a very exciting update from director Ludvig Andersson, too.

MORE: ABBA's Official Top 20 biggest songs in the UK revealed

Abba voyage setlist in full 2022: what songs are performed, the visitors, hole in your soul, knowing me, knowing you, does your mother know, lay all your love on me, summer night city, gimme gimme gimme (a man after midnight), voulez-vous, when all is said and done, don't shut me down, i still have faith in you, thank you for the music, dancing queen, the winner takes it all, where is abba's abba voyage arena.

ABBA's bespoke, 3000-capacity ABBA Voyage Arena venue is location in London's Pudding Mill Lane, right next to the DLR station.

How do I get tickets for ABBA Voyage in London?

Tickets for ABBA Voyage are available through the show's official website .

WATCH: ABBA reunite for the opening night of ABBA Voyage in London

Will ABBA add more songs to their ABBA Voyage show?

There have been whisperings among the fandom that the group may have recorded visuals for additional songs not featured in the show's current setlist, which have now been confirmed by Benny's son and show director Ludvig Andersson.

What has director Ludvig Andersson said about the ABBA Voyage setlist shake-up?

Speaking to Retro Pop Magazine, he teased: "We did more songs than we knew we were going to use. So there is more material.

"If this keeps running and people keep wanting to come and see it, we are intending to change a song out or update the show, because that’s also fun to do."

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Set List: ABBA’s Voyage Concert

In 2021, four decades after ABBA released their last studio album, the legendary Swedish foursome delivered Voyage, a 10-song project specifically designed for an unprecedented virtual concert residency in which the band performs as ABBAtars—motion-captured renderings of their younger selves. “It’s weird,” Björn Ulvaeus told Apple Music. “It’s all weird.” Of course, it’s also brilliant, daring, and revolutionary—words that have been used to describe the group for decades. The CGI residency kicked off in 2022 in a custom-built arena near East London’s Olympic Park, and is still going strong more than a year later. Whether you’re prepping for an upcoming show or reminiscing about one you recently attended, explore this tour-specific set list and put yourself in the crowd.

20 Songs, 1 hour, 25 minutes

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His Last Voyage

• Gentle Giant

Lyrics submitted by inpraiseoffolly

His Last Voyage Lyrics as written by

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I loved this band so much as a teenager. Now it's just nostalgia, but I still listen again every once in a while. When I was 13 and smoking lots while listening, this song always evoked suicide to me. I mean I pictured an old fisherman at the end of his life... going out into a storm... knowing it was his last voyage and wanting it to be so.

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Beautiful music.

Being from Portsmouth England, Giant were most likely inspired by elements of the seafaring lifestyle of their hometown which could explain the origins of this tune and moreso, "Wreck". Also, Kerry Minnear has penned a handful of songs throughout the Gentle Giant songbook that are very heartfelt and/or spiritual. This song is definitely both.

For me, it tells the story of a man who is beckoned by a high being. I imagine a man awakened by a radiant beam of light which shined upon him through his open window, facing the ocean. This light is the light of God. The light compells him to sail out, knowing his calling is out at sea, yet unknowing of what it is he seeks (hence "just a way of life"). The disasterous weather which ensues seems unfortunate, but in fact was divine intervention, as the man is not frightened nor does evidence of his shipwreck exist after the storm:

"As the tempest thundered, as the storm broke free, Suddenly in darkness, fear there none to see, Visions in his memory, what was meant to be, When the storm was over, nothing could be seen, Life and boat were taken, God knows what it means".

God knows what it means is a great way to end that segment, as it can be interpretated as bewilderment or understanding. Gary's bluesy solo which follows is excellent & the wailing feedback was completely unintentional & just happened to work out (I read that from an interview with him). The complex musical counterpoint which begins afterwards is very beautiful.

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What's The Song In The Last Voyage Of The Demeter Trailer?

"Renfield" isn't the only film hitting theaters this year that is inspired by Bram Stoker's "Dracula." Universal Pictures is also set to release "The Last Voyage of the Demeter" this coming August. However, unlike "Renfield," which offers a comedic, modern take on its source material, "The Last Voyage of the Demeter" promises to deliver a darker experience that is a bit tonally closer to Stoker's original "Dracula" novel. Taking that into account, the darkness of the upcoming horror film is represented well by the song that plays during the back half of its first trailer.

The track in question is none other than "Bullet With Butterfly Wings" by The Smashing Pumpkins, which debuted on the band's 1995 album, "Mellon Collie and the Infinite Sadness." In the liner notes for a reissue of the album, Smashing Pumpkins frontman Billy Corgan briefly explored the themes of "Bullet With Butterfly Wings," writing, "The song's true message has grown on me over the years, as I find it to be a withering attack on the lameness of fame."

Thematically, that may make it seem like the Smashing Pumpkins track ultimately doesn't have all that much to do with the story of "The Last Voyage of the Demeter." That doesn't mean the song isn't the right choice for the film's first teaser trailer, though. As a matter of fact, the song notably opens with the lyric, "The world is a vampire / sent to drain."

The Last Voyage of the Demeter explores one terrifying Dracula chapter

Directed by "The Autopsy of Jane Doe" filmmaker André Øvredal, "The Last Voyage of the Demeter" will bring to life one memorable chapter of "Dracula." The film is based, in specific, on a chapter known as "The Captain's Log," which details through multiple firsthand and secondhand accounts the terrifying fate that befell the crew of a ship that was unknowingly tasked with transporting Count Dracula from Transylvania to England.

"Game of Thrones" star Liam Cunningham leads the film as the captain of its eponymous ship, while actors like Aisling Franciosi, Corey Hawkins, and David Dastmalchian play members of the crew serving under Cunningham's captain. For his part, Javier Botet, who is known for playing creatures like The Crooked Man in "The Conjuring 2," will appear as Dracula himself. Based on the few glimpses of him that are featured in the film's first trailer, too, it seems safe to say that Botet's Dracula will be one of the more physically horrifying versions of the character that has ever been brought to life on-screen.

The initial teaser for "The Last Voyage of the Demeter" paints its iteration of Dracula as a slasher-esque figure who is intent on slowly but surely picking off the crew members of the film's eponymous ship. With that in mind, it makes even more sense that "Bullet With Butterfly Wings" was chosen for the film's first trailer. After all, "Despite all my rage / I am still just a rat in a cage," which is repeated throughout the song's chorus, feels like a pretty fitting way to describe what it'd be like to be trapped on a boat with a blood-sucking vampire.

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Skull of Siren Song Voyage

The Skull of Siren Song is a competitive voyage in Sea of Thieves .

• 1 Availability
• 2.1 The Search for the Skull
• 2.2 The Race to Captain Briggsy
• 3 Patch history

Availability

As soon as the voyage becomes available on the current server, the crew will receive a notification. At the same time a ghostly parchment titled Captain Briggsy's Note will appear on the ship's main mast.

The crew can then vote to either take part or cancel the voyage. Cancelling has no effect on other crews, they can participate nonetheless.

The Skull of Siren Song Voyage is split into two chapters.

The Search for the Skull

The first segment of the voyage sees all participants given two treasure maps: One that leads to the Key of Siren Song , and another that leads to the Chest of Siren Song (he treasure marked by the "X" on each map is not revealed to participants until it is dug up). The maps will feature two random islands across the Sea of Thieves, giving all participants an equal chance of reaching the treasures before their opponents. Once a treasure is uncovered, its discovery will be made known to all participants both by a popup tooltip, and by a combination of a permanent map marker and beacon, marking the treasure's location for the entire server to see. To reveal the skull, the Chest and Key must be united, and only then can the second chapter begin.

The Race to Captain Briggsy

Upon the opening of the chest, the Skull of Siren Song will be revealed to all participants, and the race is on! Captain Briggsy will be waiting for the skull on a random spot on a random island (often a large island), marked both by a unique map marker and swirling beacon. Participants must make their way to the island and deliver the skull to Briggsy, while fighting against rival crews with the same goal. Whilst the Skull is on a Ship , it will apply a curse to the ship, slowing it down and applying a purple and blue effect similar to the Curse of Sunken Sorrow to the Ship's deck and sails, and when taken ashore, it will cause Coral Skeletons to spawn nearby to attack the Pirate carrying it.

The crew that successfully hands the skull in is crowned the victor, completing the voyage.

Patch history

• Players placing the Skull of Siren Song in a Harpoon Rowboat dragged behind their ship will continue to be affected by its curse.
• Crews who harpoon the open chest with the Skull of Siren Song still inside will now bring the curse's effects onto their ship along with the Chest and Skull.
• Players are no longer able to opt in to the Skull of Siren Song Voyage after the Skull has been revealed.
• The Chest and Key recovered during the Voyage can now consistently be used together to unlock the Skull .
• Crews returning the Skull of Siren Song to Captain Briggsy should now consistently find that she is able to take the Skull and complete the Voyage.
• ‘ Lords of the Sea ’ – Players are now prevented from taking Skull of Siren Song Voyage items into the Siren Spire during this Tall Tale.
• Crews who have engaged in an Hourglass battle will now be able to participate in the Skull of Siren Song Voyage, but will experience a grace period after their battle before the note is delivered.
• Players in larger crews should no longer receive multiple ‘Quest Received’ notifications when starting the Skull of Siren Song Voyage.
• Players are now prevented from burying Voyage items that had only been partially uncovered.
• Introduced.

'The Black Dog' in Taylor Swift song is a real bar in London

At 2 a.m. Friday, Taylor Swift dropped 15 extra songs in what she called a "surprise double album."

"The Black Dog" stands out from the pack on "The Tortured Poets Department: The Anthology."

A "black dog" is a term referring to feelings of depression, great sadness and lack of energy, according to the Cambridge Dictionary. In English literature and folklore, a black dog was a demonic hellhound that served as an omen of death.

In this instance, Swift refers to a bar, the "Black Dog" that she notices her ex going to one night. He has forgotten to stop sharing his location. Something so trivial invokes incredible sadness and thoughts of comparison, maybe jealousy. Swift writes an invented narrative that the ex is meeting a new girl who won't understand a Starting Line song, because she's too young to know about the pop-punk band from the early 2000s. Part of the lyrics are, "I move through the world with a heart broken. My longings stay unspoken, and I may never open up the way I did for you."

The Black Dog is a London pub located at: 112 Vauxhall Walk, London SE11 5ER, United Kingdom .

The tender whimper on the last note captures perfectly the pangs of saying goodbye to a relationship.

'Tortured Poets' release live updates What to know as Taylor Swift's new album debuts

'The Tortured Poets Department'

If you didn't get the memo from the department's Chairman, "Tortured Poets" is Swift's 11th era album with 16 tracks and four bonus songs (four versions of the album each have a different bonus track).

Swift announced the project at the Grammys, when she won her 13th career Grammy for pop album of the year. Post Malone and Florence and The Machine  are two contributors on the pop album.

Its track titles are brutal. Fans speculated the album was about Swift’s six-year relationship with English actor Joe Alwyn and their breakup. Both stars kept the relationship out of the public eye. The back of the first version of the album reads, “I love you, it’s ruining me,” serving as a dagger-to-the-chest harbinger.

The album was released during Swift's two-month break from her massively popular and economically fruitful Eras Tour . "Tortured Poets" serves as an exclamation point to the behemoth success the billionaire has seen over the past year since the three-plus-hour show launched in Glendale, Arizona. Swift will return to the stage in Paris, France, on May 9. Fans anticipate that her newest era will be added to the show.

Don't miss any Taylor Swift news; sign up for the  free, weekly newsletter "This Swift Beat."

Follow Taylor Swift reporter Bryan West on  Instagram ,  TikTok  and  X as @BryanWestTV .

After months of silence, Voyager 1 has returned NASA’s calls

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For the last five months, it seemed very possible that a 46-year-old conversation had finally reached its end.

Since its launch from Kennedy Space Center on Sept. 5, 1977, NASA’s Voyager 1 spacecraft has diligently sent regular updates to Earth on the health of its systems and data collected from its onboard instruments.

But in November, the craft went quiet.

Voyager 1 is now some 15 billion miles away from Earth. Somewhere in the cold interstellar space between our sun and the closest stars, its flight data system stopped communicating with the part of the probe that allows it to send signals back to Earth. Engineers at the Jet Propulsion Laboratory in La Cañada Flintridge could tell that Voyager 1 was getting its messages, but nothing was coming back.

“We’re to the point where the hardware is starting to age,” said Linda Spilker, the project scientist for the Voyager mission. “It’s like working on an antique car, from 15 billion miles away.”

Week after week, engineers sent troubleshooting commands to the spacecraft, each time patiently waiting the 45 hours it takes to get a response here on Earth — 22.5 hours traveling at the speed of light to reach the probe, and 22.5 hours back.

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By March, the team had figured out that a memory chip that stored some of the flight data system’s software code had failed, turning the craft’s outgoing communications into gibberish.

A long-distance repair wasn’t possible. There wasn’t enough space anywhere in the system to shift the code in its entirety. So after manually reviewing the code line by line, engineers broke it up and tucked the pieces into the available slots of memory.

They sent a command to Voyager on Thursday. In the early morning hours Saturday, the team gathered around a conference table at JPL: laptops open, coffee and boxes of doughnuts in reach.

At 6:41 a.m., data from the craft showed up on their screens. The fix had worked .

“We went from very quiet and just waiting patiently to cheers and high-fives and big smiles and sighs of relief,” Spilker said. “I’m very happy to once again have a meaningful conversation with Voyager 1.”

Voyager 1 is one of two identical space probes. Voyager 2, launched two weeks before Voyager 1, is now about 13 billion miles from Earth, the two crafts’ trajectories having diverged somewhere around Saturn. (Voyager 2 continued its weekly communications uninterrupted during Voyager 1’s outage.)

Space shuttle Endeavour is lifted into the sky, takes final position as star of new museum wing

A shrink-wrapped Endeavour was hoisted and then carefully placed in its final location Tuesday at the still-under-construction Samuel Oschin Air and Space Center.

Jan. 30, 2024

They are the farthest-flung human-made objects in the universe, having traveled farther from their home planet than anything else this species has built. The task of keeping communications going grows harder with each passing day. Every 24 hours, Voyager 1 travels 912,000 miles farther away from us. As that distance grows, the signal becomes slower and weaker.

When the probe visited Jupiter in 1979, it was sending back data at a rate of 115.2 kilobits per second, Spilker said. Today, 45 years and more than 14 billion miles later, data come back at a rate of 40 bits per second.

The team is cautiously optimistic that the probes will stay in contact for three more years, long enough to celebrate the mission’s 50th anniversary in 2027, Spilker said. They could conceivably last until the 2030s.

The conversation can’t last forever. Microscopic bits of silica keep clogging up the thrusters that keep the probes’ antennas pointed toward Earth, which could end communications. The power is running low. Eventually, the day will come when both Voyagers stop transmitting data to Earth, and the first part of their mission ends.

But on the day each craft goes quiet, they begin a new era, one that could potentially last far longer. Each probe is equipped with a metallic album cover containing a Golden Record , a gold-plated copper disk inscribed with sounds and images meant to describe the species that built the Voyagers and the planet they came from.

Erosion in space is negligible; the images could be readable for another billion years or more. Should any other intelligent life form encounter one of the Voyager probes and have a means of retrieving the data from the record, they will at the very least have a chance to figure out who sent them — even if our species is by that time long gone.

JPL tries to keep Voyager space probes from disconnecting the world’s longest phone call

Keeping in touch with NASA’s two aging Voyager spacecraft is getting harder to do as they get farther away and their power sources dwindle.

Sept. 3, 2022

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Corinne Purtill is a science and medicine reporter for the Los Angeles Times. Her writing on science and human behavior has appeared in the New Yorker, the New York Times, Time Magazine, the BBC, Quartz and elsewhere. Before joining The Times, she worked as the senior London correspondent for GlobalPost (now PRI) and as a reporter and assignment editor at the Cambodia Daily in Phnom Penh. She is a native of Southern California and a graduate of Stanford University.

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Isabella Rossellini, Rainey Qualley, Macy Gray, and Gherardo Felloni Gathered for a Screening of Laura Dern’s Debut Short Film for Roger Vivier

By Eliseé Browchuk

While they live an ocean away, Gherardo Felloni, creative director of Roger Vivier, and Academy Award-winning actress Laura Dern go way back. Felloni first met Dern at one of his enchanting presentations in Paris. Fast forward a few years, and the duo has not only built an inseparable bond but also conceptualized a brand campaign beyond Felloni’s wildest dreams.

Enter the "Vivier Express," a short series featuring Felloni’s muses on a charming train voyage. In the debut episode, Dern captivates as a fashion icon on the move, seemingly unfazed until a handsome passenger enters her cabin. Dern's leisurely trip through the French countryside takes an unexpected turn as her companion starts sketching intently while gazing wistfully her way.

Spoiler alert, the suitor ends up only having eyes for one beauty: her Viv Choc handbag. This playful twist kept the audience entranced before everyone eventually broke out in contagious laughter and roaring applause. “That’s what I love about Gherardo,” Dern smiled. “He is so imaginative and has a timeless tongue-in-cheek way about him and everything he does.”

To celebrate the screening, Felloni gathered friends and fashion folk at Casa Cipriani’s lavish jazz club. Katie Couric, Maye Musk, Rainey Qualley, and Beanie Feldstein all arrived decked out in signature Roger Vivier accessories. Swanning through the room, Coco Rocha, Tina Leung, Charly Sturm, and Isabella Massenet were catching up with each other while admiring the abundant bouquets of fresh roses that decorated the tables.

Everyone dressed to the nines lounging in the dining room’s plush red chairs transported the evening to a bygone era reminiscent of an old Hollywood premiere filled with tasteful extravagance. Following the screening, Felloni rose to say a few words. “Tonight is quite emotional for me,” Felloi began. “Working with this incredible woman, Laura Dern, was a really beautiful experience, and everything I put into this film came from my heart.”

Beaming up at Felloni, it was clear that the Palm Royale, Big Little Lies, Jurassic Park star found her fashion meets fantasy match. One that you could only find in movies. “Cinema loves Roger Vivier and the brand has become iconic within it,” Dern smiled. “Gherardo loves film like my favorite filmmakers' love film so it’s a seamless collaboration and you feel the influences in his vision.”

As everyone settled into the dinner hour, classic Cipriani dishes arrived at the tables for guests to enjoy family style. From the lobster salad to the grilled Mediterranean branzino to the risotto primavera, the meal felt endless in the best possible way. Though, we were at a jazz club after all. And, it was hard not to acknowledge the quiet stage adorned with a piano, drum set, and guitar ready for a band. Until suddenly, the lights went dim, and Grammy Award-winner Macy Gray waltzed into the spotlight. Sporting a vibrant pink bob and groovy, striped velvet suit, Gray was ready to turn the dinner into a party. And she did.

“I’ve never seen so many gorgeous people acting so quiet,” she laughed. “We’re gonna change that!”

Kicking off her set with one of her favorite covers, “Sunny" by Joe McBride, Gray took the crowd on a journey through her greatest hits and tributes. Singing along, Dern and Felloni were not shy to join the engaging audience. As Gray belted the last note of “I Try,” the room rose to a standing ovation, eager for an encore. While we didn’t get another song, the waiters quickly excited guests with bowls of fluffy lemon sorbet. A simple and delicious treat to end the night on a sweet note.

Gherardo Felloni, Laura Dern, Isabella Rossellini

Maye Musk, Katie Couric

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Folake Olowofoyeku

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Taylor Swift's Ex Matty Healy Reacts to 'Tortured Poets Department' Songs

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Matty Healy isn't feeling tortured over Taylor Swift 's new music. On Wednesday, paparazzi asked The 1975 singer how he feels about the "diss track" on Swift's new album,  The Tortured Poets Department , and he had a surprising response.

"I haven't really listened to that much of it," he said, "but I'm sure it's good."

Since the release of  TTPD , fans have speculated that several songs on the album are about Healy. That was a surprise to many Swifties, given that the singers were only romantically linked for about a month following Swift's six-year relationship with Joe Alwyn .

The title track of Swift's album is believed to be about Healy . In the song, Swift sings, "You left your typewriter at my apartment / Straight from the tortured poets department / I think some things I never say / Like, 'Who uses a typewriter anyway?'"

That line points to Healy thanks to a past video interview he did with  GQ , during which he said, "It's not that there's any kind of like, romance to having a notebook, but I really like typewriters, as well. I don't have one with me because that is really impractical, but the thing is with typewriters and writing on pen to paper, there's kind of an element of like commitment that goes with the ceremony of it. Therefore, it requires you to concentrate a bit better."

Swift's songs "But Daddy I Love Him," "Fresh Out the Slammer," "Guilty As Sin?," "I Can Fix Him (No Really I Can)" and "The Smallest Man Who Ever Lived" are also believed to be about Healy .

Alwyn did appear to influence the album too, most notably on "So Long, London" and "The Black Dog."  Also part of  TTPD  is Swift's newest beau , Travis Kelce , whom Swift appears to sing about on "So High School" and "The Alchemy."

"Travis is so supportive of the entire album and loves that he is a part of Taylor's story," a source told ET in the wake of TTPD 's release. "He is a Swiftie through and through, and is very proud of her." 

The source added of Swift, "Expressing herself through her music has always been therapeutic for Taylor. It gives an outlet to move forward, feel empowered and turn her experiences into art."

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Lost Johnny Cash songs from 1993 to be released as a new album

The country star’s son co-produces Songwriter, worked up from demos with a group of former bandmates and guests including Vince Gill and Dan Auerbach backing Cash’s vocals

Eleven previously unreleased songs by Johnny Cash , which the country star recorded as demos in 1993 but never completed, are to finally see the light of day on a new album entitled Songwriter, due to be released on 28 June.

A single, Well Alright, was released today alongside the announcement: a saucy, strutting number about lust amid laundry with a classic Cash opening couplet: “I met her at the laundromat, she was washing extra hot / I said don’t you need a little help with that big load you got?”

Featuring guest appearances by country singer Vince Gill and rock band the Black Keys, the demos have been worked up into finished versions, and recorded by a crack team of musicians who previously played with Cash including guitarist Marty Stuart, drummer Pete Abbott, and – prior to his death in 2023 – upright bassist Dave Roe. Cash’s vocal performances from the demo recordings have been added on top.

Cash’s son John Carter Cash has co-produced the project, alongside David “Fergie” Ferguson, the studio engineer who worked alongside Rick Rubin to record Cash’s awe-inspiring suite of songs towards the end of his life, American Recordings.

“Nobody plays Cash better than Marty Stuart, and Dave Roe of course played with dad for many years,” John Carter Cash said. “They knew his energies, his movements, and they let him be the guide. It was just playing with Johnny once again, and that’s what it was. That was the energy of the creation.”

The demos were of songs Cash had written over a number of years prior to 1993, while he was between recording contracts. Before he could work them up into a finished album he met Rubin, and became engrossed in the American Recordings project, which consisted of Cash numbers alongside modern song standards by Paul Simon and Leonard Cohen, and unexpected cover versions of the likes of Nine Inch Nails, Danzig and Bonnie “Prince” Billy. Cash died in 2003 from complications due to diabetes, following the release of a fourth American Recordings album the previous year.

The new album’s opening track, Hello Out There, finds Cash fretting about the state of the planet, singing: “Hello out there, this is planet Earth calling calling calling calling calling / Hello out there, our net worth is falling falling falling falling falling”. He focuses on his own woes, too, on Drive On – which was written amid chronic pain following a broken jaw in the early 1990s – and Like a Soldier, which reflects on his drug addiction. “It’s something that that he wrote after his first stint in a recovery centre – he felt like he was like a soldier getting over a war,” John Carter Cash said.

I Love You Tonite was written as a love song to wife June Carter Cash, while Poor Valley Girl – with Gill adding vocals – is about June and her fellow country musician and mother Maybelle Carter. Cash references James Taylor on She Sang Sweet Baby James, his home state of Arkansas on Have You Been to Little Rock?, and reworks a Cash song from 1962, Sing It Pretty, Sue. Dan Auerbach of the Black Keys plays a guitar solo on the song Spotlight.

Promotional materials for the album promise songs about “love, family, sorrow, beauty, spiritual salvation, survival, redemption, and of course, some of the lighthearted humour Johnny was known for”.

• Johnny Cash

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Mtv’s video music awards sets 2024 date.

• Mike Pinder Dies: Moody Blues’ Co-Founding Keyboard Player Was 82

By Erik Pedersen

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Mike Pinder , who co-founded the Moody Blues and played keyboards and mellotron and sang on the Rock and Roll Hall of Fame group’s first nine albums, died Wednesday at his home in Northern California. He was 82 and was the last surviving founding member of the legendary British band.

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Pinder’s death follows that of fellow Moodys co-founding guitarist Denny Laine in December and drummer Graeme Edge in 2021 . Ray Thomas died in 2002 and Clint Warwick in 2004. Lodge and lead singer Justin Heyward joined in 1966.

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Pinder co-formed the group in Birmingham just as the British Invasion was hitting America. The Moody Blues crashed onto the international rock scene with their first hit, 1965’s “Go Now,” which went No. 1 in the UK and went top 10 in the States. The group went on to have two more U.S. Top 10 singles and three in the UK but were much more successful on the albums charts.

Among the Moody Blues’ most famous songs are “Tuesday Afternoon” and “Nights in White Satin” — both from 1968’s  Days of Future Passed  LP that featured the London Symphony Orchestra — “Ride My See-Saw,” “Question,” “The Story in Your Eyes” and “I’m Just a Singer (in a Rock and Roll Band)” — all of which remain popular on classic rock radio. The group’s “Legend of a Mind” was about the acid king Timothy Leary.

“Nights in White Satin” didn’t make the Billboard Hot 100 in its original release, but it was reissused as a single in the States in 1972 and became the group’s biggest pop hit here. The song spent two weeks at No. 2 — held out of the pole position by Johnny Nash’s “I Can See Clearly Now.”

After that, the Moody Blues went on hiatus from 1974-77, returning with the 1978 LP Octave. Pinder left the group soon after its release.

Born on December 27, 1941, in Birmingham, England, Pinder was among the first to incorporate the mellotron into rock music. He also co-wrote some of the Moody Blues’ songs including “(Thinking is) The Best Way To Travel,” “Om” and the suite “Have You Heard/The Voyage/Have You Heard (Part 2),” the latter of which closed On the Threshold of a Dream . Pinder also provided narration on that album’s track “The Dream.”

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