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Tool

Reviewed: Hurray For The Riff Raff’s “Small Town Heroes”

To be a fan of Gillian Welch, as many Uncut readers will appreciate, requires an uncommon degree of faithfulness and patience. In 18 years, she has released just five albums; given that the gap between the last one (2011’s The Harrow And The Harvest) and its predecessor (2003’s Soul Journey) ran to eight years, a follow-up may still be some way off.

Elbow – Album By Album

The Take Off And Landing Of Everything, Elbow’s sixth album, is out on Monday (March 10) – in this archive piece from Uncut’s August 2011 issue (Take 171), Guy Garvey, Mark Potter and Craig Potter stroll through two decades’ worth of musical memories. “We’ve never had the word ‘can’t’ bandied around the room,” says Garvey. “It’s like a red rag to a bull.” Interview: Graeme Thomson

Sun Kil Moon, “Benji”

“I want to be mothered,” Mark Kozelek sang in 1993 on “Mother”, one of the more startling tracks on the second Red House Painters album. “I want you to give attention to my belly button/Mother, I want to have bobby pins stuck in my ears.”

“I don’t like strangeness!” An extensive interview with Kristin Hersh

I wrote a Throwing Muses feature for the November 2013 issue of Uncut, for which I spoke to all Muses past and present. The key interview, of course, was with Kristin Hersh, which ended up taking place over two lengthy sessions.

Bob Dylan – Glasgow, Clyde Auditorium, November 18, 19 & 20, 2013

To get to the Clyde Auditorium - the 3,000-seat venue crouched on the riverbank beside the SECC, which Glaswegians only ever refer to as The Armadillo - you have to traverse a long, wormy, weather-beaten covered walkway that bridges a motorway.

Omar Souleyman – Wenu Wenu

500 albums into his career, a Syrian cult hero hooks up with Four Tet for his first trip to a studio...

The Necks live, London Cafe Oto, November 4, 2013

A lot of things can happen when you watch The Necks, the magnificent Australian improvising trio, play live. Sometimes, you can become fixated on prosaic details: how does Tony Buck’s left hand keep vibrating that shaker onto his drumkit at such an ecstatic velocity for so long, for instance? Do they have hidden clocks that allow them to move so elegantly to a conclusion without appearing to even acknowledge each other’s presence, let alone look at one another? Will unzipping my coat be an unacceptably noisy intervention?

My Top 50 Albums Of All Time (Now including a Top 131, sort of)

As you may have seen, this week’s NME features the 2013 edition of their 500 Greatest Albums Of All Time. For this one, they also accepted votes from a bunch of the mag’s alumni, including me, so I thought it’d be an easy, albeit self-indulgent, blog to reproduce my Top 50 albums here.
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