The Columbia Albums Collection, the new 17-album boxset from Blue Öyster Cult, is reviewed in the new issue of Uncut, dated April 2013, and out now. The collection unsurprisingly includes the band’s signature hit, ‘(Don’t Fear) The Reaper’, and in this piece, originally published in Uncut’s November 2010 issue, the band discuss the writing and recording of their “trans-awesome” tune, perhaps the spookiest FM staple ever. “Nothing like The Byrds”, apparently… Words: Jaan Uhelszki

It’s possible to view the career of Sam Raimi as one might a musician of a certain stripe. The successful early indie releases, followed by uneven attempts to navigate the mainstream landscape; a dedicated fanbase for whom those formative cult projects are sacrosanct.

The National's tour movie, Mistaken For Strangers, is set to stage its world premiere at the Tribeca Film Festival in New York on April 17.

The Breeders have announced UK dates to coincide with the 20th anniversary of their 1993 album, Last Splash. The Breeders line up that recorded Last Splash - Kim Deal, Kelley Deal, Josephine Wiggs and Jim Macpherson - have already announced American dates, as well as a UK show at Deerhunter's 2013 ATP Festival in June. They've now added three more UK shows. Meanwhile, to mark the 20th anniversary of Last Splash, the band's record label 4AD plan are releasing a Deluxe Anniversary Edition called LSXX in April. The dates are:

David Bowie is streaming his new album The Next Day in full. Bowie's hugely anticipated new LP is his first new material in a decade and features the track "Where Are We Now" and "The Stars (Are Out Tonight)" – which was released last week. The single "Where Are We Now" will see a special vinyl 7" single release for Record Store Day on April 20.

Hollywood has never quite known what to do with Park Chan-wook. On the face of it, a director of extremely violent genre films like Sympathy For Mr Vengeance and Oldboy, dig a little deeper however and Park’s output isn’t that easy to qualify. His films are violent, yes, and often in the most grisly sense possible, but they are also astonishing to watch – beautifully styled and composed – and undercut with a rich sense of the absurd.