Amity

As he turns 80, Cohen quietly rages against the world with his darkest record for decades...

Pavement’s ex-mainman plays to strengths in his first since becoming a Berliner. By Jason Anderson

Ray Davies underrated North London song-cycle, now with an extra disc of rarities...

Diane gives away a lot more with a lot less...

When The Rolling Stones appeared here in 1969, they played on a stage so ultimately flimsy it afterwards could have been towed away on the back of a truck or broken down on the spot and sold for scrap. Unlike the Stones, it was not built to last.

Bob Dylan’s fantastic new album opens with a train song. Given the wrath to come and the often elemental ire that accompanies it, not to mention all the bloodshed, madness, death, chaos and assorted disasters that will shortly be forthcoming, you may be surprised that what’s clattering along the tracks here isn’t the ominous engine of a slow train coming, a locomotive of doom and retribution, souls wailing in a caboose crowded with the forlorn damned and other people like them.

Alt Americana supergroup finish what their Daddy started.

The highlight of the week gone by, for me at least, was, of course, attending the playback of Leonard Cohen’s new album Old Ideas. Cohen was there, as you’ve no doubt heard by now, and if he had so chosen he could have kept his audience hanging on his every word for many more hours than he did. I’ve already written about the vent, but it seemed also timely to revisit this piece, written originally for my Stop Me If You’ve Heard This One Before column in Uncut, about meeting Cohen in somewhat unusual circumstances in June 1974.

Uplifting, melodic sixth is the Portland, Oregon conceptualists’ most immediate work...

The worst of times... the best of albums.