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Hear three songs from Lukas Nelson & Promise Of The Real’s new album

Michael Bonner
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Hear three songs from Lukas Nelson & Promise Of The Real’s new album

Lukas Nelson & Promise Of The Real have shared three songs taken from their new self-titled album.

You can hear “Set Me Down On A Cloud”, “Find Yourself” and “Forget About Georgia” below.

The album is due on August 25 via Fantasy Records and features guest slots from Nelson’s father Willie and his 86-year-old aunt Bobbi on one track, “Just Outside of Austin”.

The track listing for Lukas Nelson & Promise of the Real is:
Set Me Down On A Cloud
Die Alone
Fool Me Once
Just Outside Of Austin
Carolina
Runnin’ Shine
Find Yourself
Four Letter Word
High Times
Breath Of My Baby
Forget About Georgia
If I Started Over

The August 2017 issue of Uncut is now on sale in the UK – featuring David Bowie on the cover. Elsewhere in the issue, there are new interviews with The War On Drugs, Steve Earle and Jah Wobble, we countdown Radiohead’s 30 Greatest Songs and remember Gregg Allman. We review Peter Perrett, Afghan Whigs, ZZ Top and Peter Gabriel. Our free CD features 15 tracks of the month’s best music, including Peter Perrett, Floating Points, Bedouine, Public Service Broadcasting, Broken Social Scene and more.

Ringo Starr on The Beatles, Peter Sellers, Frank Zappa and more…

Michael Bonner
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Ringo Starr on The Beatles, Peter Sellers, Frank Zappa and more…

Ringo Starr turns 77 today, so to celebrate here’s an interview I did with him for Take 218 for our An Audience With… feature.

Topics include: Butlins seasons in the late Fifties, acting with Peter Sellers and, of course, The Beatles.

“Pepper – yes, all its good points, it was great,” he said. “But there was a lot of downtime. The White Album, we were rocking.

Follow me on Twitter @MichaelBonner

“I was just in the car coming here,” begins Ringo Starr. “They were playing ‘Eight Days A Week’ on the radio, and it rocked. You know, it rocked!” Starr is marvelling at the remarkable early accomplishments of The Beatles while installed in a hotel suite in Los Angeles. There, he is in throes of promotional duties for his new solo album, Postcards From Paradise. In fact, it is proving to be a particularly busy year for Starr: apart from his new album and an upcoming tour for his All-Starr Band, there is the not so small matter of his induction into the Rock’n’Roll Hall of Fame – the final Beatle to enjoy such an honour. But according to his publicist, Starr has spent the last few days fielding questions on two current news stories: the departure of Zayn Malik from One Direction and the death of Cynthia Lennon. Fortunately, a temperate mood appears to have prevailed, and Uncut finds Starr well disposed towards a bulging postbag. “So what do you want?” He asks, adopting a mock serious tone. Indeed, an encounter with Starr is best described as good-natured. He is happy to chat about subjects as diverse as from his formative experiences playing in Butlins, his friendship with Peter Sellers and also the eight years he spent as a Beatle. A few months shy of his 75th birthday, one wonders what the secret to Starr’s positive disposition is. “Peace and love!” He booms. “That’s right, brother!”

What is your favourite period of The Beatles? And what is your favourite drum fill on all he Beatles records?
Jeff Lynne
There’s too many great drum fills! I think one of the all-time killer drum fills for Jeff is “Free As A Bird”. I did do some fills and I do have a style. I’m a left-handed person playing right-handed drums. So that gave me a whacky attitude to the fills. I can’t go snare drum, top tom, floor tom. I can only go floor tom, top tom, snare, because I lead with my left. So for me, the fills were fine. I always put them in what I call ‘the right place’, never over when the singer was singing. Those early years, we were learning, we had very little microphones. Somehow, I just came up with the open hi-hat. I didn’t know anyone who was doing it, it gave it a lot of ‘shushyashushyashushyashushya’. I always loved that. If you listen to early records, that really comes into play. But then there’s ‘A Day In A Life’… You know, I like the whole song, the whole track. I liked what Paul played, and John’s rhythm and George’s guitar was in some cases as important as any words. Great solo work. I can’t really tell Jeff what my favourite is, because there’s too many of them. I think they’re all my favourite, if I’m doing them!

How did you and I meet? I was “there”, so I can’t remember.
Van Dyke Parks
Yeah, Van Dyke was “there” and I truly understand why he wasn’t there! I was in a house in Woodrow Wilson Drive here in LA, I was borrowing it from a friend. I’d moved over to LA in ’76, and Harry Nilsson and Van Dyke came to see me, to hang out. They’d just been on an interesting journey of hallucinations. That’s how I met Van Dyke. He came in and we got on well right away. I worked with him through the Seventies, through the Eighties occasionally, the Nineties and now into the 2000s. But that’s where we met. It was a great experience. And he was with my best friend Harry Nilsson, of course, so that was that. But Harry’s no longer with us. He’s been gone 20 years now. I still miss him.

From around 67, your drumming style changed quite dramatically. Especially on things like “I Am The Walrus” and “Flying”, it’s not quite as syncopated. Where did that come from, why did it change?
Paul Weller
The songs had changed, our attitudes had changed and our well-being had changed. I think all that came into play. It was like a natural progression: “We’re going that way, let me do this now.” I think it’s just a confidence thing. Certain things happen in your life. He’s absolutely right. I did have a drumming change of direction, the only thing that stayed constant was my time keeping. And also people could hear the drums better than the early Sixties when we were on four-track, where it was the drums and the vocals and a tambourine, say. If anything was going to get lost on the tracks, it was always the bass drum. I love all the remasters, because you get to hear what I was playing!

I love your unique drum playing. I guess it’s intuitive but were there drummers who influenced you and whose style you tried to emulate?
Marianne Faithfull
No. Really, when I listen to the records, I hear the whole thing. I never said, “Oh, that’s Carl Palmer.” I didn’t have hero drummers. I went to the movies and saw Gene Krupa in a movie and that’s about it. I just ound my own style. The interesting thing, when I started playing, if you had the instrument you were in the band. You didn’t have to be great. We all learned together. So, no, I didn’t have any big heroes, drummers.

Bark Psychosis to reissue Hex

Michael Bonner
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Bark Psychosis to reissue Hex

Bark Psychosis‘ debut album Hex is due for reissue on September 15 through Fire Records.

Newly remastered from the original analog tapes at Metropolis Studios by band co-founder Graham Sutton alongside audio mastering engineer Stuart Hawkes, Hex will be available on double vinyl, CD and Hi-res FLAC.

Recorded at The Church of St John The Evangelist in Stratford, Hex was originally released in 1994.

Tracklisting is:
The Loom
A Street Scene
Absent Friend
Big Shot
Finger Spit
Eyes And Smiles
Pendulum

You can pre-order by clicking here or here.

The August 2017 issue of Uncut is now on sale in the UK – featuring David Bowie on the cover. Elsewhere in the issue, there are new interviews with The War On Drugs, Steve Earle and Jah Wobble, we countdown Radiohead’s 30 Greatest Songs and remember Gregg Allman. We review Peter Perrett, Afghan Whigs, ZZ Top and Peter Gabriel. Our free CD features 15 tracks of the month’s best music, including Peter Perrett, Floating Points, Bedouine, Public Service Broadcasting, Broken Social Scene and more.

The 26th Uncut Playlist Of 2017

John Mulvey
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The 26th Uncut Playlist Of 2017

This week’s playlist is dominated by 75 Dollar Bill, who’ve been in the country and whose show in Cambridge (which I wrote about here) was astounding; all reports from London have been similar.

New stuff, though: Filthy Friends is the usual Peter Buck gang plus Corin Tucker, and is probably the best post-REM record as a consequence; the new Four Tet single is beautiful; and Lambchop have rescored “The Hustle” as a lavish disco number in the style of Barry White and the Love Unlimited Orchestra. A bunch of things here I’d like to play you, though tracks aren’t yet in the public domain (especially the Zara McFarlane album). But do engage with Julian Cope and his family’s month-long SydArthur Fest, and maybe even risk a listen to Mike Love’s brutal new take on “Do It Again”… “DO IT! DO IT!”

Follow me on Twitter @JohnRMulvey

1 The Necessities – Event Horizon (Be With)

2 Filthy Friends – Invitation (Kill Rock Stars)

3 Pep Llopis – Poiemusia La Nau Dels Argonautes (Freedom To Spend)

4 Zara McFarlane – Arise (Brownwood)

5 Art Feynman – Blast Off Through The Wicker (Western Vinyl)

6 Brian Eno – Reflection (Summer Update) (Warp)

7 Jens Pauly – Jens Pauly (Karlrecords)

8 Jay-Z – 4:44 (Roc Nation)

9 Robbie Basho – Live in Forlì, Italy 1982 (Obsolete Recordings)

10 Michael Mayer – DJ Kicks (!K7)

11 The Imposter – American Tune (Lupe-O-Tone)

12 75 Dollar Bill – Wood/Metal/Plastic Pattern/Rhythm/Rock (Tak:til)

13 75 Dollar Bill – Wooden Bag (Other Music)

14 Wand – Plum (Drag City)

15 Mike Love – Do It Again (Feat Mark McGrath & John Stamos)

16 Vince Staples – Big Fish Theory (Def Jam)

17 Four Tet – Two Thousand And Seventeen (Bandcamp)

https://fourtet.bandcamp.com/track/two-thousand-and-seventeen

18 Jlin – Black Origami (Planet Mu)

19 Various Artists – Even A Tree Can Shed Tears: Japanese Folk & Rock 1969 1973 (Light In The Attic)

20 Various Artists – The SydArthur Festival 2 (Head Heritage)

21 75 Dollar Bill – Southeaster/Like Like Laundry (Bandcamp)

22 75 Dollar Bill – Live At Trans-Pecos, June 28, 2015 (nyctaper.com)

23 Dead Rider – Crew Licks (Drag City)

https://deadrider.bandcamp.com/

24 Philip Cohran & The Artistic Heritage Ensemble – On The Beach (Zulu)

25 Lambchop – The Hustle Unlimited (City Slang)

 

Dan Auerbach – Waiting On A Song

Stephen Deusner
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Dan Auerbach – Waiting On A Song

Dan Auerbach’s second solo album opens not with a lurching guitar riff or a rumbling drumbeat, but with a buoyant bassline, some shimmery bells and a low, insinuating flute, all of which quickly bloom into a full-blown soul-pop symphony. Drawing heavily from the stately orchestrations of classic Motown and the breezy grooves of ’70s AM radio, “Waiting On A Song” sounds like nothing else in his catalogue, a compelling change of pace from the blues-rock attack of The Black Keys.

That opening track might not give it away, but Waiting On A Song is actually Auerbach’s Nashville album. He penned a handful of tunes with John Prine and recorded with a group of seasoned session players, including bassist Dave Roe (Loretta Lynn, Johnny Cash), pianist Bobby Wood (Kris Kristofferson, Billy “Crash” Craddock) and percussionist Kenny Malone (Crystal Gayle, Garth Brooks); there are few in town that these guys haven’t played with. “Malibu Man” breezes by on Wood’s organ riff and Matt Combs’ sunny strings, a yacht rock anthem complete with desanctified gospel vocalists. “Shine On Me”, featuring crisp rhythm guitar courtesy of Mark Knopfler, is Auerbach’s ode to either Fleetwood Mac or Katrina & The Waves.

Auerbach has always blurred regional and musical distinctions. Fifteen years ago, when the Black Keys stormed out of their Akron, Ohio, basement, their sludgy blues-rock songs sounded more like North Mississippi juke joint legends Junior Kimbrough and RL Burnside than any of the turn-of-the-century garage-rock groups with whom the duo were immediately grouped. Those influences spoke vividly to the rubber factories and tyre companies of their hometown, and the abraded tone of Auerbach’s guitar and the clockwork grooves of Patrick Carney’s drums echoed the rhythms of local assembly lines.

For years the duo mined that industrial blues aesthetic determinedly, only gradually polishing up their sound and imagining new avenues of attack. They took baby steps out of the basement in the late 2000s, most notably with their 2008 album Attack & Release, but it took them leaving Akron, and Auerbach moving down to Nashville, for The Black Keys to finally hit their stride with a series of inventive, even playful albums like 2010’s Brothers and 2011’s El Camino.

In between The Black Keys and side-projects like The Arcs and Blakroc, Auerbach has settled into a side career as a producer helming albums by a range of artists, including Lana Del Rey, Valerie June, Dr John and Ray La Montagne. Waiting On A Song sounds like an offshoot of that enterprise, with its sophisticated and summery tone and its conception of the studio as sweet shop. Only “Cherrybomb” overreaches, riding a mid-tempo drum rhythm that isn’t exactly funky and ultimately sounds like a minor Beck B-side from the early 2000s.

At times, Auerbach comes across as an artist emulating his heroes and figuring out their best tricks. Motown’s Berry Gordy looms large over the proceedings, as do locals Owen Bradley and Fred Foster. “King Of A One Horse Town” recalls the space cowboy vibe of Lee Hazlewood, although Auerbach compensates for the obviousness of the influence with one of his finest hooks.

As imaginative as his guitar playing can be, Auerbach’s vocals can be limited; at his best he’s managed to turn that shortcoming into a convincing deadpan, underplaying the humour of The Black Keys’ biggest hit, “Lonely Boy”. On Waiting On A Song he ably conveys the candy-coated whimsy of the title track and sunny alienation of “Malibu Man”, but can’t quite sell the humour of a song like “Stand By My Girl”. “I’m gonna stand by my girl,” he mock-declares, “because she’ll kill me if I don’t.” It’s not a great line to begin with, but it barely sounds like a joke coming out of Auerbach’s mouth.

And yet, Auerbach’s obvious affection for these touchstones, and for these performers, more than makes up for such shortcomings. It’s refreshing to hear him still tinkering in the studio, making a home in his hometown and showing just how expansive the city of Nashville can sound.

Q&A
Dan Auerbach
Did you set out to make something that was specifically about Nashville?
I made something that was very specifically Nashville, but not about Nashville. I couldn’t have done it without Nashville.

You wrote several of these songs with John Prine. What is he like as a writing partner?
I think John has a way of making you feel incredibly at ease. Like that babysitter you knew who’d let you get away with anything. He’s great. He makes me want to be better and to work harder. Being around him is so inspiring.

What was it like working with these Nashville legends?
I met most of them through my buddy Fergie [famed country engineer David Ferguson], and some of them I’ve been working with in the studio for years now – on the Lana Del Rey, Ray LaMontagne and Dr John records. They’ve become my crew at the studio.

Is there an urge to put them in new circumstances?
I don’t think I make it new; I think we record in a way that reminds them of when they were working in ’60 and ’70s, in a creative environment, when radio was open-minded, and you could have a hit outside of the box. These guys were on some of my favourite out-of-the-box hits from that time, and they happen to live in Nashville.
INTERVIEW: STEPHEN DEUSNER

The August 2017 issue of Uncut is now on sale in the UK – featuring David Bowie on the cover. Elsewhere in the issue, there are new interviews with The War On Drugs, Steve Earle and Jah Wobble, we countdown Radiohead’s 30 Greatest Songs and remember Gregg Allman. We review Peter Perrett, Afghan Whigs, ZZ Top and Peter Gabriel. Our free CD features 15 tracks of the month’s best music, including Peter Perrett, Floating Points, Bedouine, Public Service Broadcasting, Broken Social Scene and more.

Lambchop share “The Hustle Unlimited”, announce full UK tour

Michael Bonner
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Lambchop share “The Hustle Unlimited”, announce full UK tour

Lambchop have shared a new version of “The Hustle”, from their FLOTUS album, entitled “The Hustle Unlimited“.

The song coincides with news that they’ll be touring the UK in August on a run of 11 dates which include London’s Islington Assembly Hall.

You can hear “The Hustle Unlimited” below.

Speaking of the new version of the track, Lambchop’s Kurt Wagner said: “Sometimes things can get out of control, an impromptu idea is presented and you take that idea to a logical conclusion to see where it goes. In this case Tony Crow [piano] came up with a rather ‘Love Unlimited Orchestra’ take on the hustle during a rehearsal with Andy Stack [drums, Wye Oak]. It seemed nuts at the time but being rather nuts ourselves I thought we should try recording it and taking it all the way to full realization. Plus it was a great way to capture Andy’s tenure with us in the studio.”

“The Hustle Unlimited” along with the previously shared Prince cover “When You Were Mine” will be available on a limited edition 12” via City Slang on August 11.

Tour dates:

August 8 – Leeds @ Brudenell Social Club
August 9 – Glasgow @ Saint Luke’s & The Winged Ox
August 10 – Newcastle @ Riverside
August 11 – Manchester @ Gorilla
August 12 – Leamington Spa @ Leamington Assembly
August 13 – Nottingham @ Rescue Rooms
August 14 – Norwich @ The Waterfront
August 16 – Exeter @ Phoenix
August 17 – Bristol @ Trinity Centre
August 18 – Bexhill @ The De La Warr Pavilion
August 19 – Crickhowell @ Green Man Festival
August 20 – London @ Islington Assembly Hall

The August 2017 issue of Uncut is now on sale in the UK – featuring David Bowie on the cover. Elsewhere in the issue, there are new interviews with The War On Drugs, Steve Earle and Jah Wobble, we countdown Radiohead’s 30 Greatest Songs and remember Gregg Allman. We review Peter Perrett, Afghan Whigs, ZZ Top and Peter Gabriel. Our free CD features 15 tracks of the month’s best music, including Peter Perrett, Floating Points, Bedouine, Public Service Broadcasting, Broken Social Scene and more.

Ask Matt Johnson!

Michael Bonner
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Ask Matt Johnson!

As The The return to active service during 2017, we’ll be speaking to Matt Johnson for our An Audience With… feature.

So is there anything you’d like us to ask the legendary multi-instrumentalist?

Will he ever tour again?
What’s his favourite memory of working with Johnny Marr?
After “You Can’t Stop What’s Coming”, when can we expect some more new music?

Send up your questions by noon, Friday, July 14 to uncutaudiencewith@timeinc.com.

The best questions, and Matt’s answers, will be published in a future edition of Uncut magazine.

The August 2017 issue of Uncut is now on sale in the UK – featuring David Bowie on the cover. Elsewhere in the issue, there are new interviews with The War On Drugs, Steve Earle and Jah Wobble, we countdown Radiohead’s 30 Greatest Songs and remember Gregg Allman. We review Peter Perrett, Afghan Whigs, ZZ Top and Peter Gabriel. Our free CD features 15 tracks of the month’s best music, including Peter Perrett, Floating Points, Bedouine, Public Service Broadcasting, Broken Social Scene and more.

Hear Four Tet’s new song, “Two Thousand and Seventeen”

Michael Bonner
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Hear Four Tet’s new song, “Two Thousand and Seventeen”

Four Tet – aka Kieran Hebden – has returned with new music.

“Two Thousand and Seventeen” made its debut on Annie Mac’s BBC Radio 1 show, where she revealed that Hebden had been “making music for the past 10 months.”

Last year, Four Tet self-released Randoms, comprising of music he had created for different compilation albums over the years. Four Tet’s last studio album was 2015’s Morning/Evening.

The August 2017 issue of Uncut is now on sale in the UK – featuring David Bowie on the cover. Elsewhere in the issue, there are new interviews with The War On Drugs, Steve Earle and Jah Wobble, we countdown Radiohead’s 30 Greatest Songs and remember Gregg Allman. We review Peter Perrett, Afghan Whigs, ZZ Top and Peter Gabriel. Our free CD features 15 tracks of the month’s best music, including Peter Perrett, Floating Points, Bedouine, Public Service Broadcasting, Broken Social Scene and more.

Watch Arcade Fire debut new song, “Chemistry” at intimate London gig

Michael Bonner
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Watch Arcade Fire debut new song, “Chemistry” at intimate London gig

Arcade Fire debuted a new song, “Chemistry“, during an intimate gig last night [July 4, 2017] at London’s York Hall.

The show was part of the band’s Infinite Content tour in support of their upcoming album Everything Now, from which “Chemistry” is taken.

The band’s 17-song set included “Rebellion (Lies)”, “Neighbourhood #2 (Laika)” and “Wake Up” from their debut, Funeral, alongside material from their subsequent albums.

Arcade Fire played:
Everything Now
Rebellion (Lies)
Neighborhood #2 (Laika) (Tour Debut)
Here Comes the Night Time
Chemistry (Live Debut)
Signs of Life
No Cars Go
We Used to Wait (Tour Debut)
Neon Bible
Ready to Start
Neighborhood #1 (Tunnels)
Sprawl II (Mountains Beyond Mountains)
Reflektor
Afterlife
Creature Comfort
Neighborhood #3 (Power Out)
Wake Up

The August 2017 issue of Uncut is now on sale in the UK – featuring David Bowie on the cover. Elsewhere in the issue, there are new interviews with The War On Drugs, Steve Earle and Jah Wobble, we countdown Radiohead’s 30 Greatest Songs and remember Gregg Allman. We review Peter Perrett, Afghan Whigs, ZZ Top and Peter Gabriel. Our free CD features 15 tracks of the month’s best music, including Peter Perrett, Floating Points, Bedouine, Public Service Broadcasting, Broken Social Scene and more.

Hear Mike Love’s new version of The Beach Boys “Do It Again”

Michael Bonner
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0
Hear Mike Love’s new version of The Beach Boys “Do It Again”

Mike Love has rerecorded The Beach Boys‘ “Do It Again“.

This new version features actor John Stamos and Sugar Ray singer Mark McGrath. Love shared the track ahead of the Beach Boys’ Fourth of July concert outside the Capitol in Washington D.C.

You can hear the new version below.

“‘Do It Again’ has been a staple of our live shows since 1969 – it evokes memories of past summers while looking forward to new beginnings. I think we capture that feeling in this recording with the multi-talented Mark McGrath, and our honorary Beach Boy, John Stamos,” said Love.

Meanwhile, The Beach Boys recently released 1967 – Sunshine Tomorrow, a new compilation of material from the Wild Honey and Smiley Smile sessions.

The August 2017 issue of Uncut is now on sale in the UK – featuring David Bowie on the cover. Elsewhere in the issue, there are new interviews with The War On Drugs, Steve Earle and Jah Wobble, we countdown Radiohead’s 30 Greatest Songs and remember Gregg Allman. We review Peter Perrett, Afghan Whigs, ZZ Top and Peter Gabriel. Our free CD features 15 tracks of the month’s best music, including Peter Perrett, Floating Points, Bedouine, Public Service Broadcasting, Broken Social Scene and more.

The ecstatic music of 75 Dollar Bill

John Mulvey
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The ecstatic music of 75 Dollar Bill

Still reeling slightly from the show I saw last night in Cambridge, where 75 Dollar Bill, the duo who made my favourite album of 2016, played a pretty transcendent hour. That album, “Wood/Metal/Plastic Pattern/Rhythm/Rock”, has had a wider European release this past spring on the promising new Tak:Til imprint, that’s also now home to Natural Information Society.

I guess regular readers will probably have seen my encomiums for 75 Dollar Bill before: to recap, a New York duo (Rick Brown and Che Chen) who operate somewhere on the interface between blues, drone, psychedelia, post-rock, Arabic music, cosmic jazz and desert rock. Regarding “Wood/Metal/Plastic/Pattern/Rhythm/Rock”, I wrote last year that, if Tinariwen and their compatriots reclaimed American blues and transformed it into something dusty, trance-inducing and redolent of their Saharan home, 75 Dollar Bill are an astonishingly potent next stage in an ongoing cultural exchange. The duo’s second album comprises four deep desert blues jams, pivoted on the rattling percussion of Rick Brown and the serpentine guitar lines of Che Chen, who could plausibly sub for Ali Farka Toure in a duet with Toumani Diabate. Horns and violas add further textural levels of drone, but it’s the interplay between the core duo, and between the American and African influences, that gives Wood/Metal… its hypnotic pull. “I’m Not Trying to Wake Up”, in particular, is magnificent; like a gnawa ritual that’s been convened by Junior Kimbrough.

Brown’s rattling percussion, it transpires, mostly amounts to a tea chest that he sits on and thuds with an array of bells, shakers and weaponry. Chen mostly plays 12-string electric, though there are other things going on around his feet, including a small electric keyboard with notes held into drones by bits of cardboard sticking between the keys. “I had been playing these modal, rhythmic things,” Chen told Uncut’s John Robinson at the back end of 2016, “and knew they needed drums to complete them somehow. I was really interested in folk dance musics from various parts of the world, which often use strings or horns and very simple drums. When I heard Rick’s box it made a lot of sense.”

It’s an unorthodox set-up, and one of the wonders of the live show is how it translates into such an organic, absorbing kind of devotional music. Brown and Chen begin with a long, free passage of reed drones, bells and static, that gradually evolves into a stunned, ultra-slow take on the mighty “Earth Saw”. Again and again, Chen’s riff – oddly reminiscent of Slint, as my partner notes – looks likely to break, change course, but much of the performance works like an investigation into the hypnotic possibilities of delayed gratification. I’m not sure I’ve enjoyed a single piece of live music more this year.

After that, “Beni Said” moves on from another processional start into something wilder and more euphoric: there is talk from Rick Brown of dancing, but only head-nodding in response. They talk about the instrumental music played at breaks in the singing at Mauritanian weddings; a critical schooling of Che Chen, who studied there with Jeich Ould Chigaly, husband of the wonderful singer Noura Mint Seymali, in 2013.

“It was kind of a crash course in the Moorish modal system,” Che recalled to John Robinson. “I can’t claim to have anything but a superficial understanding of the modes, but it had a huge impact on how I play guitar. It was also great for me to see this very different way of musicians existing in society.

“I had guitar lessons with Jeich everyday and at night we’d go to his ‘gigs’ – which in Mauritania means weddings. It was also great for me to see this very different way of musicians existing in society. The traditional music is really a family affair and musicians are really integral to weddings which are really the main context where music is heard.”

A very different venue to this Cambridge pub backroom, of course, but the uninhibited joy of how this sound can mutate and be recontextualised is striking, even here. As the duo embark on a series of fervid pieces, the winding riffs become ever more intense and hypnotic, and call to mind a world of other musics as well as their first album, “Wooden Bag”: at one point I found myself thinking of something on Sublime Frequencies, maybe from Thailand? Sun City Girls would certainly be a kind of precursor, even if their delirious planet-straddling hybrids ended up in different places to where 75 Dollar Bill land.

Anyhow, it’s a transporting show, and I’m jealous if any of you are lucky enough to be seeing them at Café Oto in Dalston tonight. Here’s a beautifully-shot set from last October in Paris, to give you an idea of how great this band really are…

 

 

Big Thief – Capacity

Peter Watts
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Big Thief – Capacity

Adrianne Lenker had an eventful childhood. She was raised in a religious cult before her parents fled its grasp, then she almost died after she was hit on the head by a railroad spike. Themes of surrender, escape and sudden violence run throughout Capacity, the second album from Lenker’s four-piece Big Thief, but one which is ultimately about the capacity of humans to love each other, sometimes suffocatingly, as partners, parents and children.

The band formed after Lenker arrived in NY from the Midwest and teamed up with guitarist Buck Meek. The duo recorded a pair of folky albums before recruiting a rhythm section and releasing 2016’s excellent Big Thief debut, Masterpiece. Lenker, however, is chief songwriter and spiritual core. Her voice is the dominant instrument, her vocal melodies provide the musical adventure and her lyrics are the relentless focus.

Lenker has noted the influence of intimate songwriters such as Elliott Smith and Iron & Wine on her work, while Meek talks of Roy Harper, Fleetwood Mac, Sibylle Baier and Dan Reeder, but it’s too easy to describe Big Thief as simply a folk-rock band. The band have absorbed ideas from the NY indie scene in which they are embedded, so a song like “Coma” may begin with a melodic acoustic strum, but soon drifts into fuzzy drone, while the title track is a reverb-laden take on “Moon River”, and “Great White Shark” wriggles to a dance-indebted beat. The ghost of The Breeders can also be heard, most notably in the warping rhythm of “Mythological Beauty”, one of the most clearly autobiographical songs on the LP.

“Mythological Beauty” is about family, with Lenker singing with disarming frankness about her mother – “Seventeen you took his come/And you gave birth to your first life.” She also sings about her own childhood accident from the perspective of her mother. The nail is not the only sharp object to feature on Capacity; there are vampires and sharks, road accidents and knives. Violence – physical, emotional, real, perceived – is frequent. So too is the contrasting comfort of the body, of giving yourself to another, and the dangers and rewards this can bring. These themes come together on “Watering”, which occupies an ambiguous place between sexual violence and violent sex. On the title track, Lenker sings, “Do what you want with me,” and it’s as much a challenge as invitation.

That ambiguity and intensity is there from the start. To a deceptive backdrop of gentle acoustic picking, “Pretty Things” is a seductive lullaby, Lenker singing of a sexual encounter but warning “There’s a woman inside of me/There’s one inside of you, too.” The gender fluidity continues in the dramatic “Shark Smile”, a sly recasting of “Leader Of The Pack” that opens with discordant flurries of psychy guitar but plays out like Springsteen shorn of bombast and packing a deadpan dénouement. Big Thief rarely go for such straightforward narrative and “Capacity”, set to clanging guitars, sees Lenker tackle self-belief, while the Belly-like “Watering” seems to be about a stalker committing rape and murder, but climaxes with a command to “leave your bedroom light on/I live to watch you undress”. “Great White Shark” is distinguished by a choppy crescendo and some delicious, unpredictable vocal melodies, and is followed by the “China Doll”-like “Objects”, with Lenker singing again about the extremes of love, while Meek delivers a rippling guitar line.

After the summery jangle of “Haley” comes “Mary”, a lovely country lilt set to piano with a dexterous vocal performance, where the rhythm of the language on the chorus recalls Nick Cave at his most authoritative. Finale “Black Diamonds” acts as a careful bookend to opener “Pretty Things”: over a gentle stop-start rhythm, Lenker describes the growing intoxication of love and what it might mean to give in to it. “Should I let you make a woman of me/Should I let you take the mystery from me?” she asks. “Come on, let me make a man out of you.” As so often with Lenker, it’s an offer that sounds a lot like a challenge.

Q&A
Adrianne Lenker
What’s the songwriting process for Big Thief?
I generally write the bones of the songs. I bring something to the table at practice and the band begin to write their parts. Usually it all happens at once. Sometimes the arrangements come out quickly and other times it takes us weeks or months to figure out the first version of an arrangement.

There seems to be a constant theme of surrender – giving yourself completely to somebody. Is that something you’d recognise?
I think there is a desire for a certain type of surrender communicated, but not necessarily to give myself completely to anyone. There is a desire to embody the full capacity of myself, to unfold and become myself, and to be able to share that. Maybe part of that process r equires surrender. But much of the theme feels more like cold water on the face, waking up within the experience of life, asserting myself, my own strength and power as a being, as a woman.

Are the references to knives, sharks and vampires a reaction to your childhood near-death experience?
The sharp stuff in the record is meant to juxtapose the soft stuff. We are fleshy, delicate and pulsating. The shark and the knife are not inherently sinister. The projection of human fear is the scariest thing that appears on this record. Even the energy of the vampire changes when nobody is afraid of it.
INTERVIEW: PETER WATTS

The August 2017 issue of Uncut is now on sale in the UK – featuring David Bowie on the cover. Elsewhere in the issue, there are new interviews with The War On Drugs, Steve Earle and Jah Wobble, we countdown Radiohead’s 30 Greatest Songs and remember Gregg Allman. We review Peter Perrett, Afghan Whigs, ZZ Top and Peter Gabriel. Our free CD features 15 tracks of the month’s best music, including Peter Perrett, Floating Points, Bedouine, Public Service Broadcasting, Broken Social Scene and more.

Hear Elvis Costello’s new single, “American Tune”

Michael Bonner
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Hear Elvis Costello’s new single, “American Tune”

Elvis Costello has released a new single under his pseudonym, The Imposter.

“American Tune” is a cover of the Paul Simon song; while according to Costello’s website, the second track, “Lucky Dog“, is a reworking of “a now forgotten Vietnam-era single on the 4-Tet label out of Fort Lauderdale, FL by Sgt. Larry Singer in tribute to the heroic exploits of his dog, ‘Lucky’, who had once featured on the cover of Life magazine.”

You can hear both songs below, which are released through Costello’s own Lupe-O-Tone ‎label.

The songs have been produced by Steven Mandel, the co-producer of Costello and The Roots’ album, Wise Up Ghost.

The music is to buy available digitally.

The August 2017 issue of Uncut is now on sale in the UK – featuring David Bowie on the cover. Elsewhere in the issue, there are new interviews with The War On Drugs, Steve Earle and Jah Wobble, we countdown Radiohead’s 30 Greatest Songs and remember Gregg Allman. We review Peter Perrett, Afghan Whigs, ZZ Top and Peter Gabriel. Our free CD features 15 tracks of the month’s best music, including Peter Perrett, Floating Points, Bedouine, Public Service Broadcasting, Broken Social Scene and more.

Billy MacKenzie – Beyond The Sun

Alastair McKay
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Billy MacKenzie – Beyond The Sun

There are many stories, some funnier than others, about how unmanageable Billy MacKenzie was. The Rolls-Royce that he couldn’t drive; the hotel room for his whippets. Each absurd extravagance contributes to a picture of the singer as a quixotic, uncontrollable character with a consistent disregard for convention.
That, of course, was his approach to music, and when working with Alan Rankine in The Associates, those impulses were mirrored in tunes which stretched pop into extraordinary shapes. Things were less satisfactory after MacKenzie and Rankine parted company in 1982. The singer’s subsequent career was an erratic collection of missed opportunities, some prompted by record companies unsure how to coax the best from a singer for whom retreat was the best form of attack.

It remains a cruel irony, then, that MacKenzie’s most coherent solo work, Beyond The Sun, was completed posthumously, following his suicide in January 1997. The record had a troubled genesis, and arguments remain about who did what, but it remains an elegant, powerful work, which balances MacKenzie’s easy command of the heartbroken ballad and his need to experiment. There is a sense of gloom, never more than on the title track, with its funereal piano, and a whispered vocal in which the singer gazes into a glorious, impossible future.

MacKenzie’s impetuosity was non-negotiable. He was grieving for his mother, and simultaneously imagining three albums – electronic, rock and (the one his new label Nude favoured) an acoustic album, with the singer framed as a more impish Scott Walker. He lost interest before the album was finished, and it was constructed from demos made with pianist Steve Aungle, and produced by Simon Raymonde, of Cocteau Twins, and Pascal Gabriel. MacKenzie’s exploratory urges are restricted to “3 Gypsies In A Restaurant” (programmed by John Vick of Finitribe) and the cascading “Sour Jewel”.

The finished work is perhaps closer to the record company’s wishes than MacKenzie’s more manic imaginings. But that’s no bad thing. It inhabits a contradiction, being mournful and resilient, lyrically oblique and emotionally translucent. “Give Me Time” (a co-write with Paul Haig) has a pulsing, European feel, “Winter Academy” is a beautifully icy ballad, its effect underlined by the pained ballad “Blue It Is”. Tempting as it is to view it in the context of MacKenzie’s suicide, the most moving song on the record, “And This She Knows”, was inspired, apparently, by a dream MacKenzie had about Kylie Minogue. And yet it is a haunting, fragile song, in which the melodrama of Aungle’s piano is harangued by Malcolm Ross’ distant guitar. Perhaps the choir which ushers the album to a close on “Nocturne VII” is too straightforwardly celestial, but it underlines the sense of loss which pervades this chilly, defiant album.


The August 2017 issue of Uncut is now on sale in the UK – featuring David Bowie on the cover. Elsewhere in the issue, there are new interviews with The War On Drugs, Steve Earle and Jah Wobble, we countdown Radiohead’s 30 Greatest Songs and remember Gregg Allman. We review Peter Perrett, Afghan Whigs, ZZ Top and Peter Gabriel. Our free CD features 15 tracks of the month’s best music, including Peter Perrett, Floating Points, Bedouine, Public Service Broadcasting, Broken Social Scene and more.

ABBA exhibition to open in London later this year

Michael Bonner
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ABBA exhibition to open in London later this year

A new immersive exhibition celebrating the music of ABBA is set to open in London later this year.

The exhibition, which is set to open at the Southbank Centre in December, has been named ABBA: Super Troupers, and will contains items from the band’s private archives, including original costumes, handwritten notes and sketches, personal photographs, music and instruments, plus album artwork.

The exhibition will also recreate key sites in the band’s history, including the Polar recording studio in Stockholm, which will be filled with the band’s original instruments and handwritten lyrics.

Describing the exhibition, singer Björn Ulvaeus said: “Since our songs, which were written in the 70s, are still being played today it’s particularly interesting that the Southbank Centre exhibition is placing them in the temporal context in which they were created.

“We recorded ‘Mamma Mia’ in 1975. What happened that year in the UK and in the world? One thing is for certain – it seems unbelievably long ago!”

His bandmate, Frida Lyngstad, added: “We are so excited that the exhibition is taking place at the Southbank Centre, which is just a few short steps away from Waterloo.”

Abba: Super Troupers opens at the Southbank Centre from 14 December to 29 April 2018. Tickets are set to go on sale from Tuesday 4 July.

The August 2017 issue of Uncut is now on sale in the UK – featuring David Bowie on the cover. Elsewhere in the issue, there are new interviews with The War On Drugs, Steve Earle and Jah Wobble, we countdown Radiohead’s 30 Greatest Songs and remember Gregg Allman. We review Peter Perrett, Afghan Whigs, ZZ Top and Peter Gabriel. Our free CD features 15 tracks of the month’s best music, including Peter Perrett, Floating Points, Bedouine, Public Service Broadcasting, Broken Social Scene and more.

The Damned announce Evil Spirits tour

Michael Bonner
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The Damned announce Evil Spirits tour

The Damned have announced a UK tour for January to February 2018.

The Evil Spirits tour begins at Newcastle O2 Academy on January 26 and includes a show at London’s O2 Forum.

The line-up for the band is: Dave Vanian, Captain Sensible, Monty Oxymoron, Pinch and Stu West.

The Evil Spirits tour dates are:
26 January: Newcastle O2 Academy
27 January: Dundee Caird Hall
28 January: Glasgow O2 Academy
30 January: Leeds O2 Academy Leeds
31 January: Manchester Academy 1
1 February: Birmingham O2 Academy
3 February: Leicester O2 Academy
4 February: Nottingham Rock City
6 February: Folkestone Leas Cliff Hall
7 February: Southend Cliffs Pavilion
9 February: Cardiff Great Hall
10 February: Bristol O2 Academy Bristol
11 February: Bournemouth O2 Academy
13 February: Southampton O2 Guildhall
14 February: Bexhill De La Warr Pavilion
17 February: London O2 Forum

The August 2017 issue of Uncut is now on sale in the UK – featuring David Bowie on the cover. Elsewhere in the issue, there are new interviews with The War On Drugs, Steve Earle and Jah Wobble, we countdown Radiohead’s 30 Greatest Songs and remember Gregg Allman. We review Peter Perrett, Afghan Whigs, ZZ Top and Peter Gabriel. Our free CD features 15 tracks of the month’s best music, including Peter Perrett, Floating Points, Bedouine, Public Service Broadcasting, Broken Social Scene and more.

Steve Winwood announces Greatest Hits Live

Michael Bonner
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Steve Winwood announces Greatest Hits Live

Steve Winwood has announced details of his first ever live collection, Greatest Hits Live.

The 23-track set is released on September 1 by Wincraft Records on 2CD or 4LP.

“I’m excited about the release because I have recorded every show for many years and so it evoked many memories of the performances,” says Winwood. “I suppose it is sort of a tribute to the band members and crew I’ve been fortunate to have with me on the road. The songs were chosen for being the ones most recognised throughout my career and so I hope the record will be a souvenir that brings to mind happy memories of a good time experienced at one of my shows.”

The album includes material drawn from the Spencer Davis Group, Traffic, Blind Faith as well as Winwood’s solo career.

Greatest Hits Live – full tracklist:

CD1
I’m A Man
Them Changes
Fly
Can’t Find My Way Home
Had To Cry Today
Low Spark of High Heeled Boys
Empty Pages
Back In The High Life Again
Higher Love
Dear Mr Fantasy
Gimme Some Lovin’

CD2
Rainmaker
Pearly Queen
Glad
Why Can’t We Live Together
40,000 Headmen
Walking In The Wind
Medicated Goo
John Barleycorn
While You See A Chance
Arc Of A Diver
Freedom Overspill
Roll With It

The August 2017 issue of Uncut is now on sale in the UK – featuring David Bowie on the cover. Elsewhere in the issue, there are new interviews with The War On Drugs, Steve Earle and Jah Wobble, we countdown Radiohead’s 30 Greatest Songs and remember Gregg Allman. We review Peter Perrett, Afghan Whigs, ZZ Top and Peter Gabriel. Our free CD features 15 tracks of the month’s best music, including Peter Perrett, Floating Points, Bedouine, Public Service Broadcasting, Broken Social Scene and more.

The 25th Uncut Playlist Of 2017

John Mulvey
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The 25th Uncut Playlist Of 2017

A long list this week. Not everything here comes recommended, but most does: special attention please to Vince Staples, Wand, Red River Dialect, DJ Shadow & Nas and a new Hiss Golden Messenger song. Also this Jay-Z album might be the first one of his I’ve properly enjoyed, at least on first listen, in maybe 14 years; a lot of that’s down to No ID, I think. And RIP Phil Cohran. On the news of his death yesterday, I’m indebted to the person who posted music from his 1993 album, African Skies, which I hadn’t come across before. It’s extraordinary: do seek it out.

Follow me on Twitter @JohnRMulvey

1 William Ryan Fritch – The Sum Of Its Parts (Lost Tribe Sound)

2 Mountain Movers – Mountain Movers (Trouble In Mind)

3 Psychic Temple – Psychic Temple IV (Joyful Noise)

4 Vince Staples – Big Fish Theory (Def Jam)

5 Dead Rider – Ramble On Rose (Drag City)

https://deadrider.bandcamp.com/

6 Pep Llopis – Poiemusia La Nau Dels Argonautes (Freedom To Spend)

7 Pharoah Sanders – Village Of The Pharoahs (Impulse!)

8 Eddie Gale – Eddie Gale’s Ghetto Music (Blue Note)

9 Various Artists – Soul Of A Nation: Afro-Centric Visions In The Age Of Black Power – Underground Jazz, Street Funk & The Roots Of Rap 1968-79 (Soul Jazz)

10 Various Artists – Seafaring Strangers: Private Yacht (Numero Group)

11 Daphni – Fabric Live 93: Daphni (Fabric)

12 David Rawlings – Poor David’s Almanack (Acony)

13 Various Artists – Space, Energy & Light: Experimental Electronic And Acoustic Soundscapes 1961-88 (Soul Jazz)

14 Red River Dialect – Bowing For The Rook (Lono)

https://redriverdialect.bandcamp.com/

15 Robbie Basho – Live in Forlì, Italy 1982 (Obsolete)

16 Arcade Fire – Everything Now (Columbia)

17 Bob Marley & The Wailers – Burnin’ (Island)

18 Wand – Plum (Drag City)

19 Joseph Shabason – Aytche (Western Vinyl)

20 Mark Springer/Rip Rig And Panic – Circa Rip Rig And Panic (Exit)

21 Hiss Golden Messenger – Standing In The Doorway (Bandcamp)

https://hissgoldenmessenger.bandcamp.com/album/standing-in-the-doorway

22 Compton And Batteau – In California (Earth)

24 Kelan Phil Cohran And Legacy – African Skies (Captcha)

25 Philip Cohran & The Artistic Heritage Ensemble – On The Beach (Zulu)

26 DJ Shadow – The Mountain Has Fallen EP (Mass Appeal)

27 Psychic Temple – Psychic Temple (Bandcamp)

28 Jay-Z – 4:44 (Roc Nation)

U2 – The Joshua Tree 
30th Anniversary Edition

Stephen Dalton
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U2 – The Joshua Tree 
30th Anniversary Edition

It was almost called “The Two Americas”. Later, briefly, “Desert Songs” was a contender. But U2 finally settled on The Joshua Tree for their fifth LP, a smart title that perfectly encapsulated its cinematic mix of widescreen landscapes and thirsting, quasi-Biblical lyricism. It elevated the Irish quartet into global superstars, sold a staggering 25 million copies and remains an unsurpassed career peak. The aim, according to guitarist The Edge, was to “follow the blues and get into America”. After almost a decade as rootless post-punks with awkward Christian leanings, U2 finally baptised themselves in the mighty star-spangled river of gospel, blues, folk, country, rock and soul. Tightening up their open-ended songwriting methods into more traditional structures, they made a conscious effort to work with the “primary colours” of rootsy Americana.

Produced by the holy trinity of Daniel Lanois, Brian Eno and Steve Lillywhite, The Joshua Tree became a monumental experiment in monochrome myth-making. Musically, U2 borrowed from Dylan, Springsteen, Hendrix, Peggy Seeger, Woody Guthrie and more. Lyrically, meanwhile, Bono soaked himself in a literary pantheon including Norman Mailer, Flannery O’Connor, Walker Percy, Raymond Carver, Allen Ginsberg and many others. It was an audacious collision of vaulting ambition and juvenile arrogance, commercial calculation and cultural appropriation.

But the resulting music was spectacular. From the shimmering gallop of “Where The Streets Have No Name” to the Reagan-bashing military-industrial bombast of “Bullet The Blue Sky”, from the sultry, eroticised languor of “With Or Without You” to the radiant religiosity of “I Still Haven’t Found What I’m Looking For”, this harmonious weave of antique signifiers with gleaming modernist textures still dazzles three decades later. The Joshua Tree remains one of U2’s most consistently excellent albums, and arguably their sole masterpiece. They would never sound this fruitfully innocent again.

U2 are talking up this 30th-anniversary repackage, which comes in “super deluxe” quadruple CD and seven-disc vinyl formats, as a timely political statement, holding up their love-hate romance with Reagan’s America as a dark mirror to Trump. In truth, almost all of this material has been released before, mostly on an expanded 20th-birthday edition in 2007 (the original album here uses the same remaster). The uneven extra disc of outtakes and B-sides is virtually identical, and only of marginal interest to anyone seeking to understand the album’s broader musical hinterland.

New to the official U2 canon, though, is the band’s Madison Square Garden show from September 1987, a solid recording lifted from what sounds like a crisp, professional soundboard mix. Hamming it up like a first-time tourist fresh off the boat, Bono amplifies his mid-Atlantic twang as he shamelessly flatters the New York audience, who naturally lap up every blarney-drenched word. This punchy, dynamic set is notable for the glorious guest appearance by Harlem’s Voices 
Of Freedom gospel choir on “I Still 
Haven’t Found What I’m Looking For”. 
But slightly longer versions of this show have been available in bootleg form for years, so there is nothing here that serious U2 fans will treasure for its missing-in-action rarity.

Indeed, the only fresh material in this whole package is a single disc of newly commissioned remixes, all but one by longtime U2 collaborators and key players behind the original album. Lanois gives good value here, transforming both “Running To Stand Still” and “With Or Without You” into lightly lysergic sci-fi lullabies of weightless ambient gloop. Studio engineer Mark “Flood” Ellis also finds an inventive new angle on “Where The Streets Have No Name”, stripping away the drums and pointillist guitar detail to leave Bono’s muffled voice adrift in a ghostly fog of sonic abstraction. But Garrett “Jacknife” Lee’s burly techno-rock mix of “Bullet The Blue Sky” is mostly boorish bluster, while Lillywhite’s streamlined, shiny update of “Red Hill Mining Town” makes only minor cosmetic improvements.

The sole new name among the remixers is cryptic London-Irish electro duo St Francis Hotel, whose secrecy has led some online fans to speculate they may be related to U2, or at least famous friends. Whatever the pair’s identities, their pleasantly nondescript take on “One Tree Hill” has a warm-blooded, fuzzytronic, vaguely Balearic flavour. Brian Eno also takes a pass at the same track, but his two-minute hymnal “reprise” version is a slender, perfunctory sketch.

Of course, there is a limit to the number of times any band can meaningfully revisit and repackage an album, even a timeless milestone like The Joshua Tree. But it is hard to resist drawing parallels here with Achtung Baby, U2’s only other serious claim on all-time classic status. That album was reissued in 2011 in a super-deluxe 10-disc multimedia edition bursting with remixes, alternate takes, arty documentaries and subversive deconstructions.

By contrast, The Joshua Tree resurfaces 
in 2017 heavy with reverence but light 
on context. One glaring absence is Rattle And Hum, the sister album and tour film that pushed the band’s sepia-tinted Americana fetish into Spinal Tap-style 
self-parody, but which still contained potent and revealing moments. The 
84-page book of previously unseen archive photographs by The Edge provides a 
nice visual aside, but there are no retrospective documentaries or scholarly essays to help unpack one of U2’s most conceptually rich works. This cautious, conservative repackage may not diminish the greatness of the original album, but it does sell it short.

The August 2017 issue of Uncut is now on sale in the UK – featuring David Bowie on the cover. Elsewhere in the issue, there are new interviews with The War On Drugs, Steve Earle and Jah Wobble, we countdown Radiohead’s 30 Greatest Songs and remember Gregg Allman. We review Peter Perrett, Afghan Whigs, ZZ Top and Peter Gabriel. Our free CD features 15 tracks of the month’s best music, including Peter Perrett, Floating Points, Bedouine, Public Service Broadcasting, Broken Social Scene and more.

Watch the trailer for Morrissey biopic, England Is Mine

Michael Bonner
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Watch the trailer for Morrissey biopic, England Is Mine

The official trailer has been released for the Morrissey biopic, England Is Mine.

As you probably know, the film looks at the early life of Morrissey, before he joins The Smiths. The film stars Jack Lowden (Dunkirk, A United Kingdom) alongside Jessica Brown Findlay, who plays artist, Linder Sterling.

Eagle-eyed fans will spot that the “Billy” who appears in the trailer is future Cult guitarist, Billy Duffy, who played with Morrissey in The Nosebleeds.

Anyway, the film premiers at the Edinburgh International Film Festival over this weekend, so expect a full report soon…

Follow me on Twitter @MichaelBonner

(Sorry: this is a UK-only trailer and is geo-blocked outside the UK)

The August 2017 issue of Uncut is now on sale in the UK – featuring David Bowie on the cover. Elsewhere in the issue, there are new interviews with The War On Drugs, Steve Earle and Jah Wobble, we countdown Radiohead’s 30 Greatest Songs and remember Gregg Allman. We review Peter Perrett, Afghan Whigs, ZZ Top and Peter Gabriel. Our free CD features 15 tracks of the month’s best music, including Peter Perrett, Floating Points, Bedouine, Public Service Broadcasting, Broken Social Scene and more.

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