From the benign chaos of underground London emerged something new and terrifying: part punk, part hippy, and moving very fast indeed. Forty years on, LEMMY, “FAST” EDDIE CLARKE, PHIL CAMPBELL and original member LARRY WALLIS celebrate the magic of MOTÖRHEAD, recalling bad drugs, imperilled sheep, and the enduring power of their mighty “bend not stab” sound. “You’ve got to smack ’em in the mouth,” says Lemmy, “then give yourself time to get away.”Words: John Robinson. Originally published in Uncut’s May 2015 issue (Take 216).
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As in guitar, so in conversation. “Fast” Eddie Clarke tells a story about joining Motörhead which covers a great deal of ground, in a very short space of time.
Eddie’s account covers his origins as TV repairman in West London, jam sessions in Ealing with someone called “American Jim”, and stints with soul singer Curtis Knight (“like James Brown – he used to fine you if you did anything wrong”). There is a band, Blue Goose, and the tale continues apace. It covers a job as site foreman on a barge renovation on the Thames at Chelsea, and meeting there a casual labourer on the site, a drummer, named Phil Taylor.
Taylor brings to the site an idiosyncratic routine: the required sandpapering, but also tales of fighting, drumming, and consumption of speed. Eventually, Phil disappears. Time mysteriously passes, but Taylor re-enters the narrative, contacting Clarke to reveal that he has now found an employment opportunity more suited to his unique portfolio of talents. “He phoned me up and said, ‘I’ve joined Motörhead’,” says Eddie.
In late 1975, Motörhead was a three-piece comprising Taylor, alongside two musicians with a rich countercultural pedigree. From the Pink Fairies, a talented guitarist and songwriter: Larry Wallis. From Hawkwind, a bass player, vocalist, and man of laconic wit: Lemmy. The band had already recorded an album called On Parole for United Artists – but it was languishing unreleased. A chance encounter with Lemmy at a rehearsal studio led Clarke to audition for a job playing second guitar in the group.
Clarke was keen. He booked the studio, at Furniture Cave in Lots Road, Fulham, drove the gear, got everyone there on time. They played – but Larry Wallis was late. When Wallis eventually arrived, things didn’t go at all well. Clarke could feel the bad atmosphere and went home. “I paid the bills and fucked off,” he says. “I thought ‘fuck it.’” He went home, and went to bed, crestfallen.
“Then Saturday morning I get a knock on the door at 8am,” says Clarke. “I thought, ‘Who the fucking hell’s this?’ So I go to the door in my fucking underpants, like, ‘What the fuck’s all this?’ And it’s Lemmy, standing there with a bullet belt in one hand and a leather jacket in the other. He gave them to me and said, ‘You got the job,’ and walked off.”
One of the most immediate tracks on This Is The Kit’s fourth album, “By My Demon Eye” turns out to be a sweet deceiver. With its rolling melody, rippling highlife guitar line and sing-song refrain – inspired by an African folk tale, The Rabbit And The Tortoise – it has the naïve charm of a children’s playground chant. That is, until we discover that the chorus translates as: “Boil, boil, water boil/Let the liars boil!”
Such incongruity cuts to the heart of This Is The Kit. A vehicle for the songs of Kate Stables, a displaced Bristolian now residing in Paris, they are much admired by Guy Garvey, The National and Sharon Van Etten, and it’s easy to hear why. Their music is a slinky, slippery thing, forever shifting between light and dark, prettiness and abrasion, innocence and lowering psychodrama – often during the same song.
Though Stables’ roots lie in the West Country’s indie-folk scene, strumming a banjo in sensible sweaters, these days her music is a full-bodied beast, rich and rhythmic. Points of reference range from Sufjan Stevens to Can, Tony Allen to PJ Harvey. The one overt folk signifier is her voice. Coolly self-contained and very English, comparisons with Sandy Denny are, for once, far from fanciful.
A loose collective, which over the past decade has swelled from a duo to football team proportions and back, This Is The Kit currently consist of Stables alongside Rozi Plain, Jamie Whitby-Coles and Neil Smith. On Moonshine Freeze they’re aided by such notables as The National’s Aaron Dessner (who produced 2015’s Bashed Out) and John Parish, Harvey’s right-hand man. In 2008, Parish produced the first This Is The Kit LP, Krülle Bol, and returns to the hot seat here. His task was to unify and cohere. Where on previous albums Stables seemed to stand at one remove from her collaborators, This Is The Kit now sound like a band.
If Bashed Out was at times aloof and glacial, Moonshine Freeze possesses an almost trance-like intensity; dense, primal and repetitive. Drums circle, synths fuzz and throb and saxophones blow free with thrilling unruliness. When this churning disruption connects with Stables’ atmospheric lyric world, it makes for an intoxicating music. Concentric grooves come shrouded in a fairytale darkness. There’s a frequent sense of deep unease, of ancient spirits rising and shapeless creatures lurking, exposing hidden fears. On “Hotter Colder”, built around a nervy, shunting chord sequence, like a rootsier Nirvana, Stables is literally scared of her own shadow as it cuts through water.
“Blood in my mouth… blood on my boots,” sings Stables in “Two Pence Piece”, which rumbles ominously over a simple electro pulse and low-rolling electric guitar. “People want blood, and blood is what they’ve got,” she continues on “Easy On The Thieves”. “All Written Out In Numbers”, another sly, slumbering groove, promises that “one of us has to die”. In the first and final songs – the beautiful “Bulletproof” and stately “Solid Grease”, respectively – precious things lie broken. Some cryptic numerology is also at play. The title track warns of “cycles of three”; “All Written Out In Numbers” is an earth creation story in five minutes: “Nine for the nine bright shiners… Seven for the seven stars in the sky.”
When the tumult subsides, Moonshine Freeze offers stark and profound beauty. “Easy On The Thieves” is disarmingly gentle, its plucked banjo and tracked voices recalling Sufjan Stevens at his most intimate. On “Riddled With Ticks”, the memory of a perfect day spent in nature, whipped by wind and sea, is brought wonderfully alive. In contrast, “Show Me So” is quietly sorrowful, with its pattering electric guitar and Stables’ recalling “the vomiting, the heat in your skin, the shock soaking in”.
Now signed to Rough Trade, with at Shepherd’s Bush Empire show to come in September, This Is The Kit are making significant moves. Moonshine Freeze is an impressive conduit for their upward trajectory. On “Bulletproof”, Stables sings, “There are things to learn here, Kate.” She’s not wrong.
Q&A
Kate Stables
There seems to be something primordial about these songs…
Yes, that’s very similar to the image I have in my head when I sing them. There are a lot of dark corners. I feel like a lot of it happens kind of… underwater.
Is This Is The Kit now a settled band?
There was a time when, wherever I played, whoever I knew in that town would become the band, but it has become more established over the years and that’s really important to me. It’s my project, my songs, and it wouldn’t exist if I didn’t exist. But I don’t think it would be anywhere near as good or sound the way it does without all their input and skills.
What did John Parish bring?
For a long time, we’ve wanted to work with him again, because it was so great the first time. Back then it was just two or three days’ recording. I wanted to do it again and have a proper amount of time. My main goal with this album was to have the whole involvement of the band. When you have that many cooks, the broth is in danger! You need someone with the perspective and the skills to steer it, to communicate what’s working and what isn’t. He’s so good at that.
INTERVIEW: GRAEME THOMSON
Jack White has announced plans to release a new 7″ record, which will only be on sale at the Detroit Tigers’ upcoming baseball game.
The baseball team are a longtime favourite of White’s. Those who buy tickets to the team’s August 24 match against their rivals the Minnesota Twins will be eligible to purchase the new record, which is being released in partnership White’s Third Man Records.
The 7″ will feature a new song called “Strike Out” recorded by a roster of Third Man artists under the name the Brushoffs, who the Detroit Metro Times note includes Brendan Benson, Ben Blackwell, Dominic Davis, and Olivia Jean. On the B-side is an interview that White conducted with two-time World Series Champion Kirk Gibson. The 7″ is set to feature the Detroit Tigers’ colours, blue and orange.
In 2013, director David Lowery made his debut feature, Ain’t Them Bodies Saints, a lyrical Texan melodrama set during the 1970s, with Casey Affleck and Rooney Mara as a young couple on the run. Following his remake of Pete’s Dragon, Lowery reteams with Affleck and Mara for A Ghost Story; another lyrical piece that discretely tackles questions of a cosmic, spiritual nature played out on an intimate level.
Affleck and Mara, a couple identified only as C and M, are in the process of moving in to a new house. One night, there are odd, unexplained noises; the next morning, C is killed in a car accident. In the morgue, his body is draped in a white sheet; in one of the film’s make-or-break moments, the sheet sits up, gets off the table and trudges home across a field at sunrise, sheet dragging in the mud. There, he silently watches over his bereaved partner (in the film’s second make-or-break moment, C sits on the kitchen floor grief-eating an entire pie in one static, five minute take). It is the kind of film where a character might look pensively out of a window, where the only sounds are the rain falling outside and the mournful wheeze of violins on the soundtrack. It is, essentially, an arthouse take on Ghost.
Affleck does an amazing job, managing to be hangdog while buried under a bedsheet for most of the film; how different would the film be if he just hung around moping, without the linen? Mara meanwhile gives a powerful performance, internalizing her grief, conveying deep loss while remaining outwardly inscrutable. As time loops back on itself, Lowery reaches for something profound and moving. “We build our legacy piece by piece,” explains a cameoing Will Oldham. “And maybe the whole world will remember you, or just a couple of people. But you do what you can to ensure you’re still around after you’re gone.”
Q&A
Will Oldham You began your acting career before you started releasing records. Was acting, at one point, your first choice of a career?
If by ‘career’ you mean ‘life’ then yes. Most of my heroes, living and dead, were actors. Hi-diddle-de-dee and all of that. The way that experiencing the good work of others made me feel…that’s what I wanted to do. It felt like a solid path towards every possible life.
Who were your acting heroes?
You know, Holly Hunter, Timothy Carey….the usual. Peter Lorre knocked my socks off. Still does. Jon Voight. And folks in the theater in Louisville, or actors who passed through for work: Ken Jenkins, Patrick Tovatt, Bruce Kuhn, Mary McDonnell, Adale O’Brien. The folks who worked our local rep, Actors Theatre of Louisville, they were, in my eyes, the greatest. My bedroom walls were festooned with black-and-white postcards of Humphrey Bogart, Harpo Marx, Lydia Lunch. Then, later, Jonathan Richman, Leonard Cohen.
You were only 17 when you played Danny Radnor in Matewan. What are your memories of working with John Sayles?
Big memories, the biggest. The MATEWAN experience created a false impression that film sets are egalitarian creative work spaces and helped form a template for how I approach making records and assembling tours once I saw that film sets are rarely good places to get good work done among mutually respectful people.
If I hadn’t seen some of your other earlier films like Thousand Pieces Of Gold, Radiation or The Guatemalan Handshake, which one would you recommend I rent, and why?
Go for WHAT COMES AROUND and you will waste time and money watching something that was a waste of time and money. On A THOUSAND PIECES OF GOLD my new life began, it was a great set and I met a friend who did some significant shaping of the rest of my life. Many of the folks from the MATEWAN crew were there as well. I don’t know your taste in pictures… Have you seen JACKASS 3D?
You began your ongoing creative relationship with director Kelly Reichardt on Ode. She was evidently impressed with you; but what qualities do you most admire about her as a filmmaker?
Kelly said she liked my legs. I liked it when she took me to Dubai.
Did you see any parallels between the itinerant life of a musician and Kurt, the character you played in Reichardt’s film, Old Joy?
It’s taken years to recognize an obsession with closure. Kurt, and many touring musicians, are allergic to closure. Not only to closure, but to committing to anything resembling a continuous identity. Shallowness is a disease; Kurt has a terminal case of it. Accepting the reality of streaming music is like drinking from a river of toxic sludge.
I really liked your performances in Pioneer and The Lonely Life. How do you view short films, compared to features? Are short films like 7”s? No less carefully crafted than a full-length LP, but just a more intense experience?
I get to yield authority when it comes to acting work; it’s up to the producers and directors to care about the difference between short films and long ones.
What comparisons do you see between songwriting and acting?
In a film like NEW JERUSALEM, in which the actors are responsible for the creation of the dialogue, there’s a parallel. Usually, though, acting is interpreting, reacting. Songwriting is building from the ground up something to be interpreted.
For those who’ve yet to see the film, can you tell us a bit about the character you play in A Ghost Story and the ideas he’s putting forward in his speech?
I’m still learning. His ideas are not mine. Our ideas tangentially connect. The wardrobe was mine, though I never wear those clothes together. The best part of his diatribe is when his ideas intersect with the Ghost’s objectives. I am more resolved with perceiving our reality as a balance of one part permanent, a billion parts transitory.
Are there any other musicians you admire who also act on the side? What do you think of Dylan’s film work, for instance?
The best acting work in a film by a professional musician is probably Dwight Yoakam’s work in the CRANK movies or Abbey Lincoln’s work in NOTHING BUT A MAN. Musicians who are great in movies, regardless of their acting abilities, I’d say are Dexter Gordon in ROUNDMIDNIGHT, Kris Kristofferson in LIMBO, Kyle Field in HANG LOOSE, Tom Waits in RUMBLE FISH.
INTERVIEW: MICHAEL BONNER
Bruce Springsteen has announced details of his forthcoming run of Broadway concerts.
Springsteen On Broadway begins previews on October 3 ahead of an October 12 opening at the 960-seat Walter Kerr Theatre. The eight-week run is expected to play through to November 26. Springsteen will perform five shows a week.
“I wanted to do some shows that were as personal and as intimate as possible,” says Springsteen. “I chose Broadway for this project because it has the beautiful old theaters which seemed like the right setting for what I have in mind. In fact, with one or two exceptions, the 960 seats of the Walter Kerr Theatre is probably the smallest venue I’ve played in the last 40 years. My show is just me, the guitar, the piano and the words and music. Some of the show is spoken, some of it is sung. It loosely follows the arc of my life and my work. All of it together is in pursuit of my constant goal to provide an entertaining evening and to communicate something of value.”
Tickets will be available via Ticketmaster’s Verified Fan system, which is intended to defeat touts. It requires buyers to register in advance and checks potential customers’ purchase histories and social media to verify them.
Click here for more information about how to pre-register.
Ticket registration begins today (August 9) and closes August 27. Tickets are priced from $75 (£58) to $850 (£654). They will go on sale on August 28.
Forty years since its emergence from the New York projects, hip-hop remains an artform in a state of sonic, social and political flux. Few groups, though, appear as evolved as Shabazz Palaces. Resident in Seattle and signed to that town’s venerable independent label Sub Pop, the group – the duo of Palaceer Lazaro and Tendai Maraire – are a truly singular proposition.
Lazaro is just the latest pseudonym of Ishmael Butler, a rapper and musician with some three decades in the game. Back in the mid-’90s he was Butterfly of Grammy-winning rap trio Digable Planets. Butler’s current group share something of Digable’s blunted funk and intellectual curiosity, but Shabazz Palaces feel more like the product of a DMT trip than a dope haze. Butler has transformed himself into a sort of intergalactic beatnik, as likely to be found lounging in embroidered robes or posing with a pair of pythons than anything more familiarly hip-hop. The pair’s music, meanwhile, sounds like rap music viewed through a prism – a psychedelic reverie of glittering electronic textures and unconventional beats that’s sensual, expansive and disorientating.
Shabazz Palaces break their three-year silence since 2014’s Lese Majesty with not one but two albums, released simultaneously but otherwise distinct. Born On A Gangster Star and Vs The Jealous Machines both deal with the tale of Quazarz, an interstellar explorer sent to the “United States Of Amurderca” to chronicle what he finds. Shabazz Palaces’ blend of cosmic invention and Afro-American consciousness places them in an Afrofuturist lineage including Sun Ra, Funkadelic and The Rammellzee, the first wave NY rapper/graffiti artist who performed in the homemade armour of a space assassin. But there’s the sense that Butler embraces cosmic subject matter not just as a flight of fancy, but as a means of observing our age from a new perspective.
Shabazz Palaces have become a weirder proposition since their 2011 debut Black Up, but there are still glimpses of familiar hip-hop tropes in “Fine Ass Hairdresser” and “When Cats Claw”, preening boom-bap numbers loaded with surreal boasts and esoteric disses (“I’m Crazy Horse and you’re Custer/I’m flexing with the force, buster” goes the latter). But Maraire, the son of Zimbabwean mbira player Dumisani Maraire, drives the record with fluid, organic rhythms, while occasional guests push the envelope further: the abstract, funky “Since CAYA” reportedly came together while Butler was hanging with Thundercat and Herbie Hancock at Flying Lotus’ house.
Where it coalesces, …Gangster Star is a light, trippy confection, reinventing R&B with rippling electronics and slippery, Prince-like funk. “Eel Dreams” is a tale of underwater seduction wreathed in bubbly synths; “The Neurochem Mixalogue” imagines doo-wop sung by a malfunctioning Hal 3000; and there are nods to Kraftwerk in “That’s How City Life Goes” and “Moon Whip Quäz”, which flips the melody to “The Model” and uses it as the engine to a galaxy-roaming space opera. There is one moment of straightforward rap classicism in the shape of “Shine A Light”, which cruises in on rhapsodic strings sampled from Dee Dee Sharp’s ’60s soul hit “I Really Love You”.
Quazarz Vs The Jealous Machines differs from its sister album in a few key ways. Recorded in a beachside studio in Los Angeles with producer Sunny Levine, grandson of Quincy Jones, it will be released as a book with illustrations by Joshua Ray Stephens. The change of scenery lends a sweltering, sun-baked quality. Lyrically, meanwhile, the concept – of discomfort with technology – comes a little more into focus here than on …Gangster Star. “Gorgeous Sleeper Cell” paints social media as a control mechanism (“Watching all the currents enticing my mind/Gluttons for distraction swiping all the time”) while “Self-Made Follownaire” finds Palaceer warning of “Illuminati bots trying to scratch my mind…”
Shabazz Palaces operate around the outer limits of hip-hop, but you get little sense here that Butler sees himself as an outsider. Rather, he’s here to get everyone to raise their game. Like interstellar guides, they’re always positioned a little further out than their peers, and these two records offer suggested routes to an infinity of possible futures.
Ahead of the release of Gregg Allman‘s final studio album, Southern Blood, we’re delighted to bring you an exclusive lyric video for “My Only True Friend”.
The video features some never before released photos of Allman and his home in Savannah, where the album cover was shot.
Southern Blood is released on September 8 by Rounder. Produced by Don Was, the albums features one original alongside songs by Bob Dylan, Jackson Browne, Jerry Garcia and Willie Dixon.
“For the first time in about 30 years, I brought my road band into the studio, and man, that made it one of the best recording experiences of my career,” Allman told Uncut last year. “It took me about eight years to bring these cats together, and I couldn’t be happier. Don Was understands how important communication is, and that made it easy. He never tried to complicate things, and that’s what made him the perfect guy to produce the album.”
The album can be pre-ordered from a number of sites:
“It is with the heaviest of hearts that we announce the passing of our beloved husband, father, grandfather, and legendary singer and guitarist, Glen Travis Campbell, at the age of 81, following his long and courageous battle with Alzheimer’s disease,” the singer’s family said in a statement.
Campbell announced his Alzheimer’s diagnosis in 2011, which he followed with the Goodbye Tour and the documentary film I’ll Be Me. He released his last studio album, Adios, in June this year.
Glen Travis Campbell was born in Pike County, Arkansas, on April 22, 1936. His first guitar cost $7 from a Sears catalogue.
As a struggling musician, he moved to Los Angeles and by 1962 was a member of the Wrecking Crew, where he appeared on tracks including Elvis Presley‘s “Viva Las Vegas”, the Byrds’ “Mr. Tambourine Man” and the Righteous Brothers’ “You’ve Lost That Lovin’ Feeling”.
In 1964, when Brian Wilson stepped down from performing with The Beach Boys, Campbell replaced him on bass and high harmonies.
Campbell had his first major hit in 1967 with “By the Time I Get To Phoenix“, written by Jimmy Webb; the start of a hugely successful collaborative relationship that yielded “Galveston”, “Gentle On My Mind” and “Wichita Lineman“.
“We both came from almost identical backgrounds, raised in small towns in adjacent states, and both grew up with music as almost a daily application of family ritual, played in church and sang with our brothers and sisters,” Webb told Uncut in 2016.
“We found this area where we were very comfortable together musically. He understood what I was playing. He would stand behind me and watch my hands on the piano keys and divine the positions that he would need to take on the frets of the guitar. He would play the bass notes as well. I realised he was at least my equal and probably someone I could learn a great deal from if I would just shut up and pay attention.”
During a career that spanned six decades, Campbell sold over 45 million records. He also co-starred with John Wayne in 1969’s True Grit.
Since news broke of Campbell’s death, tributes have been paid by Brian Wilson, Ringo Starr, Dolly Parton and many more.
I'm very broken up to hear about my friend Glen Campbell. An incredible musician and an even better person. I'm at a loss. Love & Mercy.
It is worth remembering that for some eyewitnesses during 1977, punk wasn’t all it was cracked up to be. Take, for instance, Reg Cliff, who went to see two of the scene’s prime movers in concert – and came away bitterly disappointed. “Last night I went to see the Sex Pistols and Clash (formerly 101’ers) for the first time,” he wrote to NME. “I was very, very disappointed. Both bands were crap and it’s enough to turn you on to Demis Roussos.”
It’s a shame Reg didn’t enjoy the show – The Clash, it transpired, were “a cacophonous barrage of noise” – but perhaps if he’s reading this blog then he might be encouraged to pick up a copy of our latest deluxe edition and experience a change of heart. Yes, we are proud to unveil a deluxe edition of the Uncut Ultimate Music Guide to The Clash, which goes on sale in the UK this Thursday (August 10) – when it also goes on sale in our online store.
1977 was, of course, a pivotal year for The Clash – they released their debut album in April and toured extensively becoming punk’s inspirational standard-bearers in the process. So it seems particularly apt that we celebrate the 40th anniversary of this landmark year in the band’s life with this deluxe guide to all things Clash. It includes a selection of articles originally published in the NME, Melody Maker and Uncut, and with extensive new reviews of every album, we trace the highs, lows and neglected margins of the band’s career and their solo endeavours. An all-star jury – headed by Mick Jones and Paul Simonon – vote on their best Clash tracks ever, and we trace the band’s pre-history back to the pub rock scene and Joe Strummer’s early band, the 101’ers.
By curious coincidence, during 1976 – as The Clash took shape – on the other side of the Atlantic, Neil Young was hard at work on Hitchhiker, an album that he quietly shelved and has remained in his vaults ever since. Until now, that is! Young is finally releasing Hitchhiker in September, and if a post on a new website last week is to be believed, his is also finally raising the curtains on the next volume of his exhaustive Archives project. It seems a timely opportunity, then, to remind you that the current issue of Uncut goes deep into the story behind Hitchhiker, along with Young’s other legendary lost albums.
David Crosby has announced details of a new solo album, Sky Trails.
The album follows on from Lighthouse, which he released in October 2016.
Sky Trails is released on September 29. It is a full band album, who include saxophonist Steve Tavaglione, bassist Mai Agan, drummer Steve DiStanislao and Crosby’s son, multi-instrumentalist James Raymond, who also produced the album.
Crosby and Raymond recorded some of the songs at Raymond’s home studio and then moved to Jackson Browne’s Groove Masters studio in Santa Monica for tunes that feature the full band.
The album includes a cover of Joni Mitchell‘s “Amelia” from her 1976 album, Hejira. “I’ve always loved how Joni wrote about her love life and Amelia Earhart’s life at the same time,” Crosby says. “It’s just exquisite writing.”
The tracklisting for Sky Trails is:
She’s Got To Be Somewhere
Sky Trails
Sell Me A Diamond
Before Tomorrow Falls On Love
Here It’s Almost Sunset
Capitol
Amelia
Somebody Home
Curved Air
Home Free
When he released his first solo album in 2012, John Murry probably thought all his glorious mornings – hallelujah, amen! – had come at once. The Graceless Age earned Murry the sort of reviews that make careers. You couldn’t imagine him filling stadiums on the back of it, but the album, adoringly received, at least seemed to offer a future largely free of the turmoil so far attached to Murry’s life and career. Things seemed finally to be looking up for him after years of notable strife, including periods of institutionalised treatment for mental health problems and heroin addiction, the calamity of his life to that point providing The Graceless Age with its raw and seething drama. Even as Murry’s brighter future was taking shape, however, things were already starting to unravel.
Murry was badly hit when former American Music Club drummer Tim Mooney – his friend, mentor and co-producer of The Graceless Age – died suddenly just before that album came out. At the same time, Murry’s marriage was falling apart, a bitter separation soon to follow. Despite the glowing reviews, the album sold modestly. Money problems meant he couldn’t afford to keep a touring band together. He was soon also without management and a record contract. His life was as much of a mess as it had ever been. “I felt a very simple, very real need to get the ever-living fuck away from the lunacy I felt I was suffocating within,” he says, explaining how he eventually fetched up in Kilkenny, from which Irish fastness he emerged a year ago to record A Short History Of Decay, which was produced in Toronto by Cowboy Junkies’ Michael Timmins.
For all its harrowing content, The Graceless Age was often a sonically rich confection, deeply textured and dense with layers of keyboards, synthesisers, strings, crackling electronics, “found” voices from radio broadcasts and police bulletins. Mooney’s deft production brought a ruined grandeur to tracks like “Southern Sky” and “Things We Lost In The Fire” that was almost symphonic. A Brief History Of Decay is built on rougher foundations, largely unadorned, not much more than Murry’s voice, guitars and occasional keyboards, bass, drums, here and there a violin and former Pogue Cait O’Riordan’s sweet harmonies. The Graceless Age was four years in the making. Timmins wrapped the sessions for its belated follow-up in five days, capturing in the hasty process something of the bereft and haphazard atmospheres of a record like Alex Chilton’s Like Flies On Sherbet. Songs were arranged on the hoof, spontaneously worked up even as the tapes were running. The whole thing sounds like it was recorded in a barely lit bus station at the end of the line, a lonely terminus there’s likely no coming back from.
In many ways, A Short History Of Decay comes from an even darker place than The Graceless Age and its confessional exorcisms. Some of it – let’s say blunt chugs like “Under A Darker Moon”, “Defacing Sunday Bulletins” and “Countess Lola’s Blues”, with their sundry necrotic guitar riffs – seems to reach the listener from the same murk as Lou Reed’s The Blue Mask and Legendary Hearts, albums that likewise were moored in the rude self-examination of recent sobriety, a troubled clarity and morose retrospection. There’s a similar gallows humour at play here, too. Like Lou Reed, Murry finds bleak amusements in desperate moments, seems tickled by dire predicament.
As far back as World Without End, the album of newly minted murder ballads he recorded with Bob Frank in 2006, Murry’s been expert in the specifics of misery – so there’s nothing funny about his glowering cover of Afghan Whigs’ “What Jail Is Like” that replaces the Whigs’ typical histrionics with a creepy low-key menace. A quartet of original songs – including “Silver And Lead”, “Wrong Man”, “Come Five & Twenty” and “Miss Magdalene” – meanwhile teem with guilt, regret, self-recrimination, a sense of personal rot and bitter fatalism. “The kids the cops killed?/Let me be one of them, too,” he sings on “Wrong Man”. Feelings of worthlessness prevail. “All I do is fix whatever I broke the day before,” he admits on “Under A Darker Moon”. Images abound of betrayal, compromise, opportunities selfishly squandered. But a kind of redemptive enlightenment emerges. “Life is a gift I don’t recall taking,” he sings sadly on the lovely, trembling, “Come Five & Twenty”. “But I’ll wear it ’til it fades,” he adds, the song, like the entire album, a survivor’s battered hymn.
Q&A
John Murry
A Short History Of Decay sounds even darker than The Graceless Age. How did that happen?
It wasn’t intentional. When I was writing it, I thought the songs were somehow gentler and I still think the album is often quite funny. Doesn’t the best horror often come from comedic places? The greatest comedies from the most tragic?
How did Michael Timmins end up as producer?
I met Mike when I played in Glasgow at Celtic Connections in 2013. I used to fall asleep to Cowboy Junkies’ The Trinity Sessions, so they were literally characters from a dream. Over the next few years, we stayed in touch. Somehow we both knew we needed to make a record together.
How much influence did he have on the sound of the album?
An immense influence. Mike has an amazing gift as a producer. He hears the essence of a song. Like Jim Dickinson, Mike is a producer in the truest sense. Like Jim, I admire the hell out of Mike. He showed me that with the right people playing in the room with me a record could come to life and it did. It’s exactly what I meant it to be: defiant, tangled, indignant and final. The songs speak much more clearly for themselves now, I believe, and I hope by letting them do their own talking, it will allow me to do mine.
INTERVIEW: ALLAN JONES
Todd Haynes is to direct a documentary series about The Velvet Underground.
Speaking to Variety, the filmmaker – whose credits include the Bob Dylan film, I’m Not There – said the project will “rely certainly on [Andy] Warhol films but also a rich culture of experimental film, a vernacular we have lost and we don’t have, [and that] we increasingly get further removed from,” he said.
It will also be “challenging” given there is so little documentation on the group, the director added. So he is looking forward to “the thrill of the research and visual assemblage” and “getting in deep to the resources and material and stock and archival footage and the actual cinema and experimental work.”
Haynes also aims to include interviews of the surviving members of the band as well as figures from the contemporary 1960s arts scene.
The initially striking thing about Broken Social Scene’s first release in seven years is that its title might have suited any of the four albums that preceded it, seeing as the Canadian collective may be one of the most warmly comforting bands of our time. Initially formed as a duo by Kevin Drew and Brendan Canning in Toronto at the end of the 1990s, Broken Social Scene soon grew into a unwieldy gaggle of pals, collaborators and ex- and current romantic partners, all of whom have come and gone depending on the demands of their other musical commitments – solo ones in the case of Leslie Feist and Jason Collett, bands for the various members of Metric, Stars, Do Make Say Think and many more. Live shows have rarely featured less than 10 members, sometimes more than 20, not including the guest stars. Playing Manchester’s Albert Hall the day after the bombing on May 22 this year, they were joined by Johnny Marr for a poignant performance of “Anthems For A 17-Year-Old Girl” from 2002’s You Forgot It In People.
As you’d expect, there’s a lot of touchy-feely togetherness among the many players who somehow squeeze onto these stages. But listeners become part of it too, such that on a good night – when the performance climaxes with a joyful clamour of group vocal harmonies and a wall of guitars – it can all feel like one long, unfeasibly large group hug.
The spirit of warmth and inclusiveness the band exudes seems more valuable as the years have passed, especially as it becomes clearer how the things meant to connect people may isolate them instead. “All along we’re gonna feel some numbness,” sings Feist in Hug Of Thunder’s title track, a moving yet suitably thunderous effort to reconcile the hugeness of the world we perceive in childhood with the narrowness we may feel at later stages. “Certain times in our lives come to take up more space than others,” she offers as consolation. “And time’s gon’ take it’s time.” A similar sentiment surfaces in “Gonna Get Better”, which uses an epiphanic swirl of techno-pop textures and smeary guitars and horns to support the semi-hopeful notion that “things’ll get better ’cos they can’t get worse”.
The solace we receive from each other’s company serves as both the central theme and modus operandi for Hug Of Thunder, which follows yet another lengthy hiatus for the band. They only played four shows in six years, but somehow the gang reconvened last summer at a studio a few hours away from Toronto, with Drew and Canning accompanied by the Scene’s other three core members – Charles Spearin, Justin Peroff and Andrew Whiteman – and a dozen more friends, plus producers Joe Chiccarelli and Nyles Spencer.
The result contains some of the most exuberant and immediately engaging music they’ve ever recorded. Whereas its two predecessors – 2005’s Broken Social Scene and 2010’s Forgiveness Rock Record – suffered from a surplus of ideas and sometimes competing imperatives, Hug Of Thunder sees the band maintain a steadier focus and surer footing across 12 songs that may be the product of many hands but seem born of a shared vision. Arriving after the prelude of “Sol Luna” – a callback to the serene synth soundscapes of the project’s earliest recordings – “Halfway Home” is the first of the LP’s many instant anthems. It’s also another strong reassertion of Broken Social Scene’s equally fervent enthusiasms for indie-rock fuzz and major-key melodicism – “Protest Song” and “Stay Happy” are two more that fit neatly in the band’s sweet spot between Abbey Road and Dinosaur Jr’s Bug.
Other songs are fuelled by a greater sense of urgency, of making the most of a moment that always passes too swiftly. A cryptic but still pointed critique of the false selves and empty desires fostered by social-media addiction, “Vanity Pail Kids” is driven by its pounding rhythm and menacing blasts of brass. There are shades here of Arcade Fire, peers from Montreal who certainly benefited from the terrain that Broken Social Scene helped fertilise for Canadian indie hopefuls at the start of the century.
It culminates – as it so often does for Broken Social Scene – with a crescendo of almost overwhelming intensity and then a gentler dénouement. Hug Of Thunder’s closer “Mouth Guards Of The Apocalypse” swells and surges with its expressions of rage and discontent (“Our heroes are dicks, we don’t pay to protect them”). But beneath the squall and rancour lies the simpler, possibly naïve hope that we might treat each other a little better. As Drew sings through a haze of distortion, “If you can’t help me, then help someone like me.” If a hug would make a difference, he’d be quick to provide one. In any case, he and his friends have returned with music that feels just as comforting and necessary.
Q&A
Kevin Drew
Broken Social Scene have gone on and off hiatus for nearly 20 years now – what pulled the gang back together this time?
I just think we missed the people. Obviously as anxieties grow in the world, you pull toward what you know, which is your friends. So we just put it out there that the [core] five of us were gonna get into a studio and start jamming and writing and everyone else was welcome. By the time we were finished, we had everybody. We worked really hard at collecting a lot of music and then we spent a lot of time trying to organise and get on the same page with everyone’s opinions about what songs should go on the album. There’s this trustworthy, melodic group-heartbeat we all understand. It’s there not just inside the studio, but at the dinner table and on the tour bus and outside in the world hanging out.
Was there a collective idea or emotion that guided you this time?
We were all feeling and singing about the same things. And it’s just a general theme across our lives, as with so many people out there. We’re feeling everything that everyone’s feeling as I see us getting bamboozled on a daily basis and anxieties, disorders, depression and addictions are just sorta taking over. So we wanted to create that anthemic, you-are-not-alone album, an album for the struggle – thus the title Hug Of Thunder.
It might also be your most focused and impassioned album – did you feel a real seize-the-day attitude, too?
There’s definitely an urgency to it. There’s an urgency to last longer than two weeks as the value of art slowly slips away – sometimes you just have to scream a little louder.
INTERVIEW: JASON ANDERSON
Motörhead have shared a previously unheard cover version of David Bowie’s “Heroes”.
The song was recorded during the sessions for Bad Magic, which was released a few months before Lemmy‘s death.
“Heroes” will feature on a new compilation from the band called Under Cöver – an 11-track release that finds Motörhead taking on songs by the likes of Metallica, Sex Pistols, Ramones and more.
In a press release the surviving members of the band discussed the cover. Guitarist Phil Campbell said: “It’s such a great Bowie song, one of his best, and I could only see great things coming out of it from us.”
Drummer Mikkey Dee added: “[Lemmy] was very, very proud of it, not only because it turned out so well, but because it was fun! Which is what projects like this should be – fun!”
Loads of good things here in this week’s batch, compiled at a bit of a dash as we put the finishing touches to our next issue of Uncut. Quick checklist of the highlights you can find below: two long-awaited albums by laughing New Age master Laraaji; a new Margo Price EP; Shannon Lay, on Kevin Morby’s new Mare imprint, who should appeal to fans of Jessica Pratt, for a start; one of Britain’s most interesting solo guitarists, Dean McPhee, raising money for a fine album; Grandma’s Hands Band (involving some of Hiss Golden Messenger, Bon Iver, Hurray For The Riff Raff, Drive-By Truckers as well as Natalie Prass) paying tribute to Bill Withers at Newport; another track from Corin Tucker and Peter Buck’s Filthy Friends; Kamasi Washington’s beautiful “Harmony Of Difference”; Kelela; Circuit Des Yeux; and, I think possibly best of all, a magnificent new Four Tet track. That’ll do.
Follow me on Twitter @JohnRMulvey
1 Hiss Golden Messenger – Hallelujah Anyhow (Merge)
2 Laraaji – Sun Gong (All Saints)
3 Margo Price – Weakness (Third Man)
4 The Weather Station – The Weather Station (Paradise Of Bachelors)
5 Laraaji – Bring On The Sun (All Saints)
6 Shannon Lay – Living Water (Woodsist)
7 David Grubbs – Creep Mission (Blue Chopsticks)
8 Zara McFarlane – Arise (Brownswood)
9 LCD Soundsystem – American Dream (Columbia)
10 Dean McPhee – Four Stones (Hood Faire)
11 Grandma’s Hands Band – Ain’t No Sunshine/Lovely Day (Live at Newport Festival)
12 David Bowie – A New Career In A New Town (1977 – 1982) (Parlophone)
13 Kaitlyn Aurelia Smith – The Kid (Western Vinyl)
14 Jon Hassell – Dream Theory In Malaya: Fourth World Volume Two (Tak:Til)
15 Voices Of East Harlem – Right On Be Free (Elektra)
16 Filthy Friends – Invitation (Kill Rock Stars)
17 Trio Da Kali & The Kronos Quartet – Ladilikan (World Circuit)
18 Kamasi Washington – Harmony Of Difference (Young Turks)
https://www.youtube.com/watch?v=rtW1S5EbHgU
19 Queens Of The Stone Age – Villains (Matador)
20 Kelela – LMK (Warp)
21 Four Tet – Planet (Text)
22 Circuit Des Yeux – Reaching For Indigo (Drag City)
23 Širom – I Can Be A Clay Snapper (Tak:til)
24 Cool Ghouls – Gord’s Horse (Melodic)
25 Wand – Plum (Drag City)
26 Colleen – A Flame My Love, A Frequency (Thrill Jockey)
Linda Perhacs is releasing a new album, I’m A Harmony, on September 22, through Omnivore Recordings.
The album has been produced by Wilco’s Pat Sansone, with Perhacs and Fernando Perdomo.
Guests on the record include Devendra Banhart, Julia Holter, Wilco’s Nels Cline, Glenn Kotche and John Stirratt and producer/remixer Mark Pritchard.
“This is my third album,” says Perhacs. “It is truly my best so far because it is a collaboration with other amazing artists. In our world that is increasingly suffering from an ‘Eclipse Of All Love’, this album will renew your love and ‘Wash Your Soul In Sound’.”
According to co-producer Sansone: “Working with Linda on I’m A Harmony has been a joy and a true learning experience. She injects so much soul and quiet magic into every molecule of her writing and performances on this album. Working with her I was continuously inspired, and my fandom amplified.”
Co-producer Perdomo said: “Linda Perhacs is a musical treasure. It has been an honor to help Linda continue to bring so much joy to the world with her amazing vision and spirit. I’m A Harmony may be the most ambitious record I have ever been a part of. At 75, Linda is more creative than ever and I hope she inspires everyone as much as she has inspired me.”
The tracklisting is: Winds of the Sky (featuring Nels Cline) We Will Live (featuring Julia Holter and Devendra Banhart) I’m a Harmony (featuring Julia Holter) The Dancer Crazy Love (featuring the Autumn Defense) Take Your Love to a Higher Level (featuring Durga McBroom and Michelle Vidal) Eclipse of All Love (featuring Pat Sansone) One Full Circle Around the Sun Beautiful Play (featuring Julia Holter) Visions (featuring Julia Holter) You Wash My Soul in Sound (featuring Mark Pritchard)
After leaving Roxy Music in July 1973, Brian Eno hatched a number of audacious schemes to launch his new career. There was – he revealed to NME’s Nick Kent – Luala And The Lizard Girls, who would perform live in launderettes and massage parlours, and the Plastic Eno Band, dedicated to creating music from an assortment of plastic musical instruments. Among other supposed works-in-progress were ‘The Magic Wurlitzer Synthesizer Of Brian Eno Plays “Winchester Cathedral” And 14 Other Evergreens’, a collaboration with Lynsey De Paul and even a rapprochement with estranged former bandmate Bryan Ferry as a duo called The Singing Brians.
But of all the many fabrications Eno proposed to Kent, one of them actually turned out to be true: a collaborative album with Robert Fripp. Released in November 1973, Fripp & Eno’s (No Pussyfooting) was the first record to carry Eno’s name post-Roxy. It established a pattern for the next 40-plus years – Eno as the inveterate collaborator. Between 1974 and 1977 alone – from Here Come The Warm Jets to Before And After Science – Eno’s assiduous creative networking led to assignations with, among others, John Cale, Cluster, Genesis, Nico, Robert Wyatt, Television, Hawkwind’s Robert Calvert, Gavin Bryars, Ultravox! and David Bowie.
Given this, it’s hard to believe Eno had time for his own career. Yet his first four ‘vocal’ albums are significant; not just in establishing Eno as a solo artist but also for the way they bridge musical worlds, bringing together the electronic and the organic, rock and drone, truffling out unexpected connections between incongruent styles. Eno’s catalogue was remastered for CD in 2004, but these are the first new vinyl cuts of these four LPs since the mid-1980s – with each album now spread over two discs – and have now been mastered at half-speed, a process designed to enhance the depth of field for vinyl reissues. The LP that benefits most obviously from this improved treatment is Another Green World, which enjoys a heightened immersive experience. The others sound fuller, richer; they’re louder, the volume has been raised, but there’s no compression or unnecessary EQing.
For January 1974’s Here Come The Warm Jets, Eno surrounded himself with old associates, including Andy Mackay and Phil Manzanera. The album covers plenty of ground – art pop, doo-wop pastiche, drones and surreal exotica – sometimes, like “Cindy Tells Me”, all within the space of one song. But Eno makes a virtue of these disparate qualities, stacking the absurd next to the sinister. Eno’s voice, previously glimpsed during harmonies on Roxy records, was now presented as another stylistic component, deployed in exaggerated fashion to suit each song: a sinister whine on “Baby’s On Fire”, a droll croon on “Dead Finks Don’t Talk”, multi-tracked into soothing symphony on “Some Of Them Are Old”. The wistful “On Some Faraway Beach”, meanwhile, offered an emotional counterpoint to his arch, self-aware creations.
Eno refined his working practices further for November 1974’s Taking Tiger Mountain (By Strategy), working with a smaller core band, including Manzanera and Wyatt. The emphasis was still on creative spontaneity; the newly devised Oblique Strategies instruction cards encouraged additional lateral thinking. Very loosely inspired by a series of postcards from a Chinese revolutionary opera, Taking Tiger Mountain… foregrounds unusual instruments in its pursuit of fresh perspectives. Manzanera’s guitar is still prominent – especially on the frenetic “Third Uncle” – but keen listeners might spot the typewriter solo on “China My China”, the Portsmouth Sinfonia’s string section on “Put A Straw Under Baby” or the noise like robot crickets stridulating at the end of “The Great Pretender”.
1975 proved to be an auspicious year for Eno. An accident in January led – fortuitously – to his inaugural ambient work, Discreet Music, whose textural drift seeped into the gentle rhythms of September’s Another Green World. Only five of the 14 songs have vocals and these tend to be delivered in soft, hymnal tones – like the multi-tracked choir of Enos (Eni?) on “Golden Hours”. There are few sharp edges on the album; for the most part, it glides along on Percy Jones’ supple basslines. What friction there is comes from John Cale’s agitated viola lines on “Sky Saw” or Fripp’s dazzling guitar solo on “St Elmo’s Fire”. Occasionally, conventional songs emerge from these sonic landscapes – “I’ll Come Running” is a sweet pop moment – but Eno’s interests lie elsewhere. The album closed with “Spirits Drifting”, whose foreboding minor chords sounded like a dry run for “Warszawa” from Bowie’s Low. Bowie occupied much of Eno’s 1977 – the year of Low and “Heroes” – though he still found time to tinker on December’s Before And After Science. In fact, …Science suffered from a lengthy gestation, with sessions swelling to two years and utilising a shifting retinue of returning players including Manzanera, Wyatt, Fripp, Jones and Phil Collins, Jaki Liebezeit and Dave Mattacks.
Considering Eno’s ongoing experiments with mood compositions, the first half of Before And After Science is a surprisingly lively record. The clipped funk rhythms of “No One Receiving” foreshadow his later work with Talking Heads while “King’s Lead Hat” (an anagram of Talking Heads), references the tight, angular sound of New Wave. After the burnished pop of “Here He Comes”, the album drifts into a deepening state of tranquil repose. The final sequence of “By The River”, “Through Hollow Lands (For Harold Budd)” and “Spider And I” – delicate piano motifs, understated guitar lines, warm choral harmonies – anticipate the next stage of Eno’s career: the ‘ambient’ series. From art rock to African polyrhythms and atmospheric sound textures, Eno travelled at tremendous speed during four short years. Rarely, if ever, did he look backwards. It was as if he had taken counsel from one of his own marvellous Oblique Strategies cards: ‘Trust in the you of now.’
The Who have announced details of a new box set consisting of the bands A sides, B sides and EPs.
The 5 CD set features 86 tracks from the Brunswick, Reaction, Track and Polydor labels accompanied by a 48-page booklet, with track-by-track annotation, period photos and memorabilia.
It will be released by UMC-Polydor on October 27.
THE WHO MAXIMUM As &Bs TRACKLISTING:
DISC 1 Zoot Suit
I’m the Face
I Can’t Explain
Bald Headed Woman
Anyway, Anyhow, Anywhere
Daddy Rolling Stone
My Generation
Shout and Shimmy
Circles (AKA ‘Instant Party’)
Instant Party Mixture
A Legal Matter
The Kids Are Alright
The Ox
La-La-La Lies
The Good’s Gone
DISC 2 Substitute
Circles
Waltz For A Pig
I’m A Boy
In The City
Disguises
Batman
Bucket T
Barbara Ann
Happy Jack
I’ve Been Away
Pictures Of Lily
Doctor, Doctor
The Last Time
Under My Thumb
I Can See For Miles
Someone’s Coming
Dogs
Call Me Lightning
Magic Bus
Dr Jekyll & Mr. Hyde
DISC 3 Pinball Wizard
Dogs Part Two
The Seeker
Here For More
Summertime Blues
Heaven And Hell
See Me Feel Me / Listening To You
Overture From Tommy
Christmas
I’m Free
Won’t Get Fooled Again
Don’t Know Myself
Let’s See Action
When I Was A Boy
Join Together
Baby Don’t You Do It
Relay
Wasp Man
DISC 4 5:15
Water
Listening To You / See Me Feel Me (Soundtrack Version)
Overture (Soundtrack Version)
Squeeze Box
Success Story
Who Are You
Had Enough
Long Live Rock
My Wife (Live)
5:15 (Soundtrack Version)
I’m One (Soundtrack Version)
You Better You Bet
The Quiet One
Don’t Let Go The Coat
You
DISC 5 Athena
A Man Is A Man
Eminence Front
It’s Your Turn
Twist And Shout (Live
I Can’t Explain (Live)
Bony Maronie (Live)
Join Together (Live)
I Can See For Miles (Live)
Behind Blue Eyes (Live)
Real Good Looking Boy
Old Red Wine
Wire & Glass EP – Side A (5 x tracks)
Wire & Glass EP – Side B – Mirror Door
Be Lucky
I Can’t Explain (2014 Stereo remix)
Meanwhile, Pete Townshend‘s demo and outtake collections Scoop, Another Scoop and Scoop 3 will be reissued as limited edition coloured vinyl editions on August 18. These have been newly remastered at Abbey Road with the LPs remastered at half speed and pressed on pink (Scoop), yellow (Another Scoop) and light blue (Scoop 3) vinyl. CD sets will also be available.
SCOOP 2LP (pink vinyl) tracklisting:
SIDE ONE So Sad About Us / Brr
Squeeze Box
Zelda
Politician
Dirty Water
Circles (Instant Party)
Piano: Tipperary SIDE TWO Unused Piano: Quadrophenia
Melancholia
Bargain
Things Have Changed
Popular
Behind Blue Eyes SIDE THREE Magic Bus
Cache Cache
Cookin’
You’re So Clever
Body Language
Initial Machine Experiments SIDE FOUR Mary
Recorders
ANOTHER SCOOP (yellow vinyl) tracklisting:
SIDE ONE You Better You Bet
Girl In A Suitcase
Brooklyn Kids
Pinball Wizard
Football Fugue
Happy Jack SIDE TWO Substitute
Long Live Rock
Call Me Lightning
Holly Like Ivy
Begin The Beguine
Vicious Interlude
La La La Lies
Cat Snatch SIDE THREE Prelude #556
Baraque Ippanese
Praying The Game
Driftin’ Blues
Christmas
Pictures Of Lily
Don’t Let Go The Coat SIDE FOUR The Kids Are Alright
Prelude, The Right to Write
Never Ask Me
Ask Yourself
The Ferryman
The Shout
SCOOP 3 (light blue vinyl) tracklisting:
SIDE ONE Can You See The Real Me
Dirty Water
Commonwealth Boys
Theme 015
Marty Robbins
I Like It The Way It Is SIDE TWO Theme 016
No Way Out (However Much I Booze)
Collings
Parvardigar
Sea And Sand
971104 Arpeggio Piano SIDE THREE Theme 017
I Am Afraid
Maxims For Lunch
Wistful
Eminence Front
Lonely Words SIDE FOUR Prelude 970519
Iron Man Recitative
Tough Boys
Did You Steal My Money?
Can You Really Dance? SIDE FIVE Variations On Dirty Jobs
All Lovers Are Deranged
Elephants
Wired To The Moon – Pt. 2
How Can You Do It Alone
Poem Disturbed SIDE SIX Squirm Squirm
Outlive The Dinosaur
Teresa
Man And Machines
It’s In Ya
Andrew Weatherall releases his new album Quaila on September 29 – but beforehand, he’ll be answering your questions as part of our regular An Audience With… feature.
So is there anything you’ve always wanted to ask the artist once known as Audrey Witherspoon?
What lessons did he learn from working with Primal Scream?
Has he ever turned down a remix, and why?
What does he remember about his first ever DJ set
Send up your questions by noon, Friday, August 11 to uncutaudiencewith@timeinc.com.
The best questions, and Andrew’s answers, will be published in a future edition of Uncut magazine.
