Finally, we're pleased to announce that the winners of the first Uncut Music Award are Fleet Foxes for their debut album, "Fleet Foxes". Over the next couple of weeks, we'll be posting transcripts of the judges' deliberations here. Today, we start with the judges' summing-up. . .
The first time I heard Eagles Of Death Metal, I was backstage at a festival in Bologna, trying to interview Queens Of The Stone Age even though Josh Homme, dancing like a menacing and mildly suggestive uncle, was more interested in playing me his new side project.
It seems like much longer than a year since Cat Power’s “Jukebox” album was released; one of those January albums, maybe, that are unfairly forgotten when the end-of-year accounting is done. A handy reminder, though, comes with this lovely six-track EP of covers, culled from the same sessions, that acts as a kind of book-end to the year.
I was thinking the other day about live albums, specifically those ones where crowd noise takes over: things, I guess, like Suicide’s “23 Minutes Over Brussels” and that “Black Sabbath Riot” record that came out a few years ago (was it something to do with Alec Empire? I can’t remember).
Yes yes I know it's only a couple of days since the last one, but I have an interview to prepare for in an hour or so, and yesterday's post brought a bunch of stuff we should probably talk about, or at least flag up, now. Namely. . .
I’ve written about this guy Babe, Terror before here, but he emailed me about a new track he’d posted the other day, and I think it might be his best one yet.
A good day for the world, then. Not sure whether this week’s Uncut playlist really reflects the global mood, though I did bring in “Attica Blues” to play this morning. A bunch of unprepossessing-looking indie promos don’t really cut it on a day like this.
A slightly tenuous connection, but it’s odd to think that, when the record I blogged about yesterday, “Brighten The Corners”, first came out, Damon Albarn was at the height of his Pavement phase. I remember going to see Pavement in Oxford on that tour (“Westie Can Drum”, “The Killing Moon”. . .) and Albarn was there with Justine Frischmann, looking conspicuously inconspicuous in a baseball cap pulled down low.
