As the Manics gear up to release their latest album – the predominantly acoustic, pastoral and Motown-tinged Rewind The Film – it seems a good time to revisit the Manics bassist and lyricist’s October 2006 (Take 113) grilling from fans and famous names. Topics include Cuba post-Castro, Live8, aircraft leg-room and winning Wimbledon… Interview: Stephen Trousse
Although I’m currently watching films due for release in July – which will take us over halfway through 2013 – I’m conscious that there’s a lot of great stuff still to come during the rest of the year.
This month’s issue of Uncut (June 2013) features The Waterboys discussing their mammoth new Fisherman’s Box release – here, in this archive feature from Uncut’s July 2008 issue, the band, including Mike Scott and Karl Wallinger, reflect on the creation of their pop masterpiece, The Whole Of The Moon. Expect disagreements, still; arguments about musical contributions, worries over spending life in prison for hitting someone over the head with a guitar… Words: Nick Hasted
At the end of November 2012, Low released a short video trailer for their forthcoming tenth full album, “The Invisible Way”. There is some static, and Mimi Parker talking about some “exceptional peaches”, then a cascading piano line fades in. After 44 seconds, and before the clip has revealed much of a shape as a song, the clip ends.
In Part 4 of this exclusive interview from Uncut’s October 1999 issue, David Bowie looks back on 30 years of genius, drugs and derangement. Words: Chris Roberts
Former Kraftwerk percussionist Karl Bartos features in the new issue of Uncut (February 2013, Take 189), out now, discussing the upcoming Kraftwerk retrospective shows in London, and his own new solo album, Off The Record. As a companion piece, here’s Ralf Hütter taking us through the high points of Kraftwerk’s discography in a fascinating ‘album by album’ from Uncut's October 2009 issue (Take 149).
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You’ll hopefully have spotted Uncut’s Films Of The Year in our current issue. High up the Top 10 is the brilliant Berberian Sound Studio, director Peter Strickland’s spin on low-rent 70s Italian horror movies and a tribute to the Heath Robinson-style endeavours of foley artists and sound designers of a certain generation. Ahead of the film's imminent release of the film on DVD – and Broadcast’s score in the New Year – I caught up with Peter Strickland to chat about the film and his influences.
