Home Blog Page 683

Bon Iver announce new album tracklisting

0
Bon Iver have announced that their June-bound new album will be self-titled and released its tracklisting. The album will be released on June 21 in the US – see below for the tracklisting. Each song on the album is named after or represents a place. Frontman Justin Vernon has said of album close...

Bon Iver have announced that their June-bound new album will be self-titled and released its tracklisting.

The album will be released on June 21 in the US – see below for the tracklisting.

Each song on the album is named after or represents a place. Frontman Justin Vernon has said of album closer ‘Beth/Rest’, his favourite on the LP: “It’s definitely the part where you pick up your joint and re-light it.”

The tracklisting of ‘Bon Iver’ is:

‘Perth’

‘Minnesota, WI’

‘Holocene’

‘Towers’

‘Michicant’

‘Hinnom, TX’

‘Wash.’

‘Calgary’

‘Lisbon, OH’

‘Beth/Rest’

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Liam Gallagher reveals Beady Eye second album plans

0
Liam Gallagher has promised that Beady Eye won't be hanging around when it comes to releasing their second album. The singer told the Irish Times that they wouldn't let promotion for their recent debut 'Different Gear, Still Speeding' run into 2012 and instead would get to work on its follow-up. C...

Liam Gallagher has promised that Beady Eye won’t be hanging around when it comes to releasing their second album.

The singer told the Irish Times that they wouldn’t let promotion for their recent debut ‘Different Gear, Still Speeding’ run into 2012 and instead would get to work on its follow-up.

Comparing life in Beady Eye to his old Oasis regime he said: “We’re not going to put the ball down, sit around in a big house and go ‘We’re great’. We won’t be booking into the studio for months and months on end.”

He added: “We’re not going to be rolling over this album into the next year. There will be an awesome second album coming soon. We’re responsible for our every move. We’re on our own label. We do all our own artwork and videos. It’s not like, ‘Oh, send that off to the visual arts person’.”

‘Different Gear, Still Speeding’ was released in February.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

The 15th Uncut Playlist Of 2011

0
Ashley Wales’ remix of “You’re No Good”… the second movement of Fucked Up’s rock opera… “I Had A Dream” by The Long Ryders still sounding levitational, right up to the last second when someone observes, correctly, “That was tight!”… Robert Stillman… The People’s Temple ra...

Ashley Wales’ remix of “You’re No Good”… the second movement of Fucked Up’s rock opera… “I Had A Dream” by The Long Ryders still sounding levitational, right up to the last second when someone observes, correctly, “That was tight!”… Robert StillmanThe People’s Temple ramalam I blogged about yesterday… “The Only Way I Know To Love You” by Joe TexAndre Adams… “Supercollider”… and Sun Araw covering Teenage Fanclub, downloaded from the always on-point Raven Sings The Blues… All good…

Arcade Fire to release two new songs this June

0
Arcade Fire are to re-release 'The Suburbs' in June, with the addition of two brand new songs. The tracks, which are titled 'Speaking In Tongues' and 'Culture War', will be released on June 27 in a new, deluxe edition of the band’s third album. The new edition will also include the band's shor...

Arcade Fire are to re-release ‘The Suburbs’ in June, with the addition of two brand new songs.

The tracks, which are titled ‘Speaking In Tongues’ and ‘Culture War’, will be released on June 27 in a new, deluxe edition of the band’s third album.

The new edition will also include the band’s short film, ‘Scenes From The Suburbs’. A ‘Making Of’ documentary will also be part of the package.

The re-release was announced last night (April 18) on Zane Lowe’s BBC Radio 1 Show, which will also be the first radio show to air the tracks, on May 23.

Arcade Fire return to the UK in June to headline Hyde Park.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Rufus Wainwright to play London Royal Opera House residency

0
Rufus Wainwright has announced a five night residency at London's Royal Opera House for July. The Canadian singer songwriter will play a different themed concert each night during the run, which takes place from July 18 – 23. The opening night (July 18) will see Wainwright perform his Judy Garl...

Rufus Wainwright has announced a five night residency at London‘s Royal Opera House for July.

The Canadian singer songwriter will play a different themed concert each night during the run, which takes place from July 18 – 23.

The opening night (July 18) will see Wainwright perform his Judy Garland tribute show ‘Rufus Does Judy’, which was released as a live album in 2007. He will also perform this on July 22.

He will then play an evening with his sister Martha the following night (July 19) and his father Loudon Wainwright III on July 21.

The final night (July 23) will see a performance of his 2010 opera Prima Donna, followed by a show, which is titled ‘Rufus Does Rufus’.

The gigs are to support the release of a new 19 disc box set, ‘House Of Rufus’. This features the singer’s six studio albums, two live albums, four additional CDs of rarities and demos and six DVDs.

‘House Of Rufus’ is released on July 18.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Radiohead make Record Store Day single available online

0
Radiohead have made their Record Store Day songs 'Supercollider' and 'The Butcher' available to download to fans who bought their 'Kings Of Limbs' album. The tracks were made available on limited-edition vinyl on Saturday (April 16) but in an email that opens with "thank you" in 27 languages, the b...

Radiohead have made their Record Store Day songs ‘Supercollider’ and ‘The Butcher’ available to download to fans who bought their ‘Kings Of Limbs’ album.

The tracks were made available on limited-edition vinyl on Saturday (April 16) but in an email that opens with “thank you” in 27 languages, the band state that the tracks are being given away to reward fans for their support.

“This is not part of a new loyalty points scheme, a Radiohead clubcard or even an air miles redeemable reward type thing… It is just a big old-fashioned thank you!” the email, from their Waste.uk.com merchandise site added.

To download the two tracks go to the band’s official album site Thekingoflimbs.com

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

The People’s Temple: “Sons Of Stone”

0

The new Black Lips album – produced by Mark Ronson, weirdly – arrived yesterday, and reminded me of a couple of things. First, that I always feel unaccountably guilty for not liking Black Lips records as much as I think I should. And second, I actually have a bunch of good garage records that need writing about. Foremost among them, I reckon, is “Sons Of Stone”, the debut album by The People’s Temple on Hozac. The People’s Temple come from Lansing, Michigan, but their particular strain of garage seems to be derived from further south, rich as it is with allusions to the blasted Texan psych of the 13th Floor Elevators and at least some of the International Artists label. As with so many of these contemporary garage bands, The People’s Temple maintain a peculiar and effective balance between incredible diligence, in their recreation of an antique ‘60s sound, and ramshackle spontaneity. Plenty of “Sons Of Stone” captures the bravura and naivety of a bunch of freshmen who’ve just heard, say, Them (“Where You Gonna Go?”) for the first time, or who’ve dedicated themselves to producing a darker analogue to “Paint It, Black” and then accidentally strayed into “Peter Gunn” in the process (the closing “The Surf”). There are stringy, uncanny echoes of early Love here, too, and, in some of the lysergic twanging lead guitar, surely accidental ones to the first Blur album. On their Myspace, incidentally, The People’s Temple reference The Brian Jonestown Massacre, which I personally find pretty offputting, but “Sons Of Stone” sounds like the most optimistic bits of that band’s rhetoric, rather than the shoey disappointments of their actual music. The People’s Temple have the thrust and the tunes – the title track and “Axe Man”, especially - to carry them through, so that they don’t sound, like a good few garage bands old and new, that they’re still quaintly grappling with the concept of a longplayer. Off the top of my head, it feels like the garage record I’ve most enjoyed since the last Fresh & Onlys and, especially, Ty Segall’s “Melted”. I have the new Segall album here (on Drag City), to listen to some more, and also a record by the Cosmonauts that I really should do something on. In the meantime, check out The People’s Temple on the cursed Myspace and let me know what you think.

The new Black Lips album – produced by Mark Ronson, weirdly – arrived yesterday, and reminded me of a couple of things. First, that I always feel unaccountably guilty for not liking Black Lips records as much as I think I should. And second, I actually have a bunch of good garage records that need writing about.

Glastonbury 2011 line-up announced

0
Glastonbury festival organisers have revealed the full line-up for this June's event. Taking place at Worthy Farm from June 24-26, the festival's Pyramid Stage has already been confirmed to be headlined by U2 (24), Coldplay (25) and Beyonce (26). Glastonbury 2011 ticket returns are [url=http://ww...

Glastonbury festival organisers have revealed the full line-up for this June’s event.

Taking place at Worthy Farm from June 24-26, the festival’s Pyramid Stage has already been confirmed to be headlined by U2 (24), Coldplay (25) and Beyonce (26).

Glastonbury 2011 ticket returns are [url=http://www.nme.com/news/glastonbury/55704]set to go on sale on Sunday (April 17) at 9am (GMT)[/url].

The full line-up for this year’s Glastonbury festival is:

June 24

Pyramid Stage

U2

Morrissey

Biffy Clyro

BB King

Wu Tang Clan

Two Door Cinema Club

Metronomy

The Master Musicians of Joujouka

Other Stage

Primal Scream

Mumford And Sons

Fleet Foxes

Bright Eyes

The Wombats

The Vaccines

The Kills

Brother

Chipmunk

John Peel Stage

DJ Shadow

Example

The Coral

I Am Kloot

Darwin Deez

Cage The Elephant

Miles Kane

Mona

Stonefield

Cocoon

The Park Stage

Crystal Castles

Caribou

Special Guests

Big Audio Dynamite

Warpaint

Jenny & Johnny

Caitlin Rose

Dylan Le Blanc

Group Love

Narisarato

West Holts

Cee Lo Green

Chase And Status

Jimmy Cliff

Heliocentrics With Mulatu

Little Dragon

Gonjasufi

Dengue Fever

Ziriguidum

Acoustic Stage

Brit Floyd

Raul Malo from The Mavericks

Eric Bibb

Hothouse Flowers

Newton Faulkner

The Otway Band

Sean Rowe

Gabrielle Aplin

Rainy Boy Sleep

East Dance

Fatboy Slim

Fatboy v Carl Cox

Carl Cox

Ke$ha

The Midnight Beast

Katy B

Fenech Soler

Mike Posner

Beardyman

Oxlyers On West

Annie Mac

Erol Alkan

James Holden

Jamie xx

Sbtrkt Live

Jim Jones Revue

King Blues

The Guillemots

Emmy The Great

Summer Camp

Dry The River

Danny And The Champions Of The World

Spirit Of 71

Melanie

The Crazy World of Arthur Brown

Edgar Broughton

Shpongle DJ Set feat Raja Ram

Murray Lachlan Young

Noel Harrison Trio And Friends

Solstice String Quartet

Glade Stage

Asian Dub Foundation

Younger Brother

Robert Babicz

Engine Earz

Dub FX

Pathaan

Nathan Lee

June 25

Pyramid Stage

Coldplay

Elbow

Paolo Nutini

Tinie Tempah

Rumer

The Gaslight Anthem

Tame Impala

Stornoway

Other Stage

The Chemical Brothers

White Lies

Friendly Fires

Jimmy Eat World

Jessie J

Twilight Singers

Treetop Flyers

Alice Gold

John Peel Stage

Glasvegas

Battles

Noah And The Whale

The Horrors

Warpaint

Anna Calvi

Dry The River

Yuck

Brave Yesterday

The Park Stage

Wild Beasts

James Blake

Special Guests

Tame Impala

The Walkmen

Graham Coxon

Those Dancing Days

About Group

Baelearic Folk Orchestra

Ellen & The Escapades

West Holts

Big Boi

Janelle Monae

Aloe Blacc

Fools Gold

Omar Souleyman

Brandt Bauer Frick

Nicolas Jaar Live

Narasirato

London Afrobeat Collective

Acoustic

Deacon Blue

Nick Lowe

Pentangle

Thea Gilmore sings Dylan’s John Wesley Harding

The Webb Sisters

Emily and The Woods

Isobel Anderson

Kassidy

Simon Lynge

East Dance

Professor Green

Devlin

Labrinth

Wretch 32

Jodie Connor

MistaJam

Skepta

Yasmin

Giggs

MZ Bratt

P Money

Griminal

Dot JR

Oxlyers On West

John Digweed

Sander Kleinenberg – 5K Live featuring Dev

Yousef

Zinc

Krafty Kuts with Dynamite MC

Dreadzone

Cherry Ghost

Patrick Wolf

Pulled Apart By Horses

Brother

Fujiya & Miyagi

Phoenix Foundation

Exlovers

Spirit Of 71

Terry Reid

Linda Lewis

BJ Cole and Emily Burridge

Nick Lowe

Pink Fairies

Charlie Dore & the Hula Valley Orchestra

Bex Marshall

Tom E.Lewis

Baku Dan with Moussa Kouaty

Glade Stage

Lee Scratch Perry

Don Letts

Hiatus Feat. LKJ

Prem Joshua

Tristan

Gaudi Live

Tom E.Lewis

Black Jesus Experience

June 26

Pyramid Stage

Beyonce

Pendulum

Plan B

Paul Simon

Laura Marling

Don McLean

The Low Anthem

Fisherman’s Friends

Other Stage

Queens Of The Stone Age

Kaiser Chiefs

Eels

TV On The Radio

Bombay Bicycle Club

The Noisettes

Cold War Kids

Clare Maguire

Dan Mangan

John Peel Stage

The Streets

Robyn

Hurts

The Vaccines

Everything Everything

OK GO

The Joy Formidable

Foster The People

Ragu Dixit

My Tiger Timing

The Park Stage

Gruff Rhys

Lykke Li

John Grant

The Bees

James Vincent McMorrow

Jonny

Sea Of Bees

The Pierces

Troy Ellis & Hall Jamaica

West Holts

Kool & The Gang

Hercules And Love Affair

The Go! Team

Duane Eddy

Bellowhead

Jah Wobble & the Nippon Dub Ensemble

Jamie Woon

The Hidden Orchestra

Acoustic

Suzanne Vega

Imelda May

John Cooper Clarke

Wine Women & Song

London Community Gospel Choir

The Magnets

Iona Marshall

Caitlin Rose

Ellyn Maybe

East Dance

Pete Tong

The Japanese Popstars

Steve Lawler

Claude Vonstroke

Azari & 111

Funkagenda & Chris Lake B2B

Mark Knight

Matt Hardwick

Oxlyers On West

Subfocus & ID

Photek

DJ Fresh

Caspa & Rod Azlan

Skream & Benga

Joker

Metronomy

dan le sac Vs Scroobius Pip

Egyptian Hip Hop

Crystal Fighters

Cults

Esben And The Witch

Mirrors

Spirit Of 71

System 7

Nik Turner’s Space Ritual

Robyn Hitchcock

Chris Jagger

Gringo Ska

Nigel Mazyln Jones

Avalon Free State Choir

Glade Stage

Plump DJs

Pretty Lights

Freestylers

London Elektricity

Camo & Krooked

Mr Nice

Correspondents

Sashi & The Wild Beans

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

The Shins announce live comeback gig

0
The Shins have announced their first gig for two years. The Portland indie rock favourites have been on hiatus since their album 'Wincing The Night Away' in 2007. However, they have just been confirmed to play San Francisco's Outside Lands Festival which takes place on Golden Gate Park from Augus...

The Shins have announced their first gig for two years.

The Portland indie rock favourites have been on hiatus since their album ‘Wincing The Night Away’ in 2007.

However, they have just been confirmed to play San Francisco‘s Outside Lands Festival which takes place on Golden Gate Park from August 12-14.

Also confirmed for the festival are Muse, Arctic Monkeys, Arcade Fire, MGMT and Deadmau5.

During their time away, frontman James Mercer formed Broken Bells with Danger Mouse. In the meantime, keyboardist Marty Crandall and drummer Jesse Sandoval left the band, being replaced by Ron Lewis and Joe Plummer from Modest Mouse respectively.

The Shins are expected to release a new album later this year, having left Sub Pop for Mercer‘s own label Aural Apothecary.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

The Strokes to play T In The Park 2011

0
The Strokes have been confirmed as playing this year's T In The Park. Foo Fighters, Pulp, Beady Eye, Arctic Monkeys and Coldplay are also on the bill for the Scottish event, which takes place in Balado on July 8–10. See Tinthepark.com for more information. The line up, for T In The Park, so far,...

The Strokes have been confirmed as playing this year’s T In The Park.

Foo Fighters, Pulp, Beady Eye, Arctic Monkeys and Coldplay are also on the bill for the Scottish event, which takes place in Balado on July 8–10. See Tinthepark.com for more information.

The line up, for T In The Park, so far, is:

The Strokes

Foo Fighters

Arctic Monkeys

Coldplay

The View

Pendulum

Tom Jones

Blink-182

The Script

Plan B

Imelda May

Pulp

My Chemical Romance

Weezer

Deadmau5

Beady Eye

Ocean Colour Scene

Tinie Tempah

Cast

Hurts

You Me At Six

Brandon Flowers

Blondie

Jessie J

Eels

The Streets

Vitalic

Jimmy Eat World

The Saturdays

Bloody Beetroots

Chase and Status

Josh Wink

Noah & The Whale

House Of Pain

Bright Eyes

Diplo

Bloody Beetroots Death Crew

Miles Kane

Crystal Castles

Manic Street Preachers

White Lies

The Vaccines

Slam

To check the availability of [url=http://www2.seetickets.com/nme/?c=487152&filler2=487152]T In The Park tickets[/url] and get all the latest listings, go to [url=http://www.nme.com/gigs]NME.COM/TICKETS[/url] now, or call 0871 230 1094.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

YOUR HIGHNESS

0
Directed by David Gordon Green Starring Danny McBride, Natalie Portman, James Franco/ Regular viewers of the Uncut Channel – HBO – may already be familiar with Danny McBride, the star and co-writer of Your Highness. McBride is the creative force behind the channel’s comedy series Eastbound &...

Directed by David Gordon Green

Starring Danny McBride, Natalie Portman, James Franco/

Regular viewers of the Uncut Channel – HBO – may already be familiar with Danny McBride, the star and co-writer of Your Highness. McBride is the creative force behind the channel’s comedy series Eastbound & Down, in which he plays Kenny Powers – a disgraced former professional baseball player forced to take a humiliating career downgrade, teaching gym class at his old school. Powers is arrogant and obnoxious – traits McBride successfully exported to other movies such as 2006’s micro-budget indie The Foot Fist Way (his American breakthrough), Tropic Thunder and Pineapple Express.

McBride brings to life another of his reprehensible gargoyles for Your Highness – a terrific, bawdy riff on fantasy movies, whose plot takes in a kidnapped princess, an evil wizard, knights, crones and mythical beasts. McBride plays Thadeous, the second in line to the throne of Mourne, a magical kingdom ruled by benevolent king Tallious (Charles Dance). Thadeous is the black sheep of the family: an inveterate shagger, liar and coward. His elder brother is high achiever Fabious, played with wholesome vigour by James Franco (fresh from his Oscar nomination for 127 Hours). As is often the case with younger siblings who are overlooked in favour of their more successful elders, Thadeous is resentful towards Fabious. When Fabious’ new bride Belladonna (Zooey Deschanel) is kidnapped on their wedding day by evil wizard Leezar (a camp, scene-stealing Justin Theroux, looking like the drummer in an ’80s metal band), Thadeous is dispatched against his will with his elder brother on a quest to retrieve her. Also along for the ride: Toby Jones’ oily courtier, Damian Lewis and a banner of knights, Thadeous’ knave Courtney (Saxondale’s Rasmus Hardiker) and a mechanical bird, called Simon.

As with Pineapple Express, which also starred Franco and McBride, Your Highness is directed by David Gordon Green. Green’s career trajectory has been an exemplar of the stark realities of modern independent filmmaking. He made his debut, aged 25, with George Washington (2000) – a languorous study of rural American life that won him lofty comparisons with Terrence Malick. He followed it up with another low-budget movie, 2003’s All The Real Girls, starring Zooey Deschanel (and, in his first film role, McBride). A brilliant film – but, alas, no-one saw it. Even fewer people saw his next, Undertow, while his fourth film, Snow Angels, was never released in the UK.

At some point, Green made a pragmatic decision to cut his losses. Moving away from deeply personal independent movies, he teamed up with producer Judd Apatow and star/writer Seth Rogen for Pineapple Express – a rowdy stoner action film, no less. Green has also secured a Consulting Producer title and sporadic directing credits on McBride’s Eastbound & Down. It’s been a risky, but broadly successful transition from the arthouse to the mainstream for Green. Pineapple Express took over $100 million at the box office. Critically, it also felt like a legitimate

attempt to extend the painfully limited boundaries of the frat boy comedy; its reference points included Midnight Run and 48 Hours as much as the Cheech & Chong films. It took the ‘serious’ parts of the movie, well, seriously; the perils faced by Franco and Rogen’s characters seemed genuine enough in context. Indeed, characters died in the film. Its take on Franco and Rogen’s characters was unusually melancholic for a comedy; here were two burned-out men, locked into a state of permanent adolescence.

For Your Highness, Green, McBride and co-writer Ben Best (another Eastbound & Down veteran) cleave close to the specifics of fantasy movies, but then do their own funny, filthy thing with them. So, Leezar’s plan to impregnate Belladonna in accordance with an ancient prophecy is called “The Fuckening”. In a nod to Jim Henson’s marvellous animatronic creations from movies like Labyrinth, there’s a dope-smoking ‘wise wizard’ – a funny, turtle-like creature who Fabious reveals, “I’ve known since I was a boy. Sometimes we’d take off our shirts and jump up and down on the bed.” Indeed.

If you think it sounds like a ruder version of The Princess Bride, then that’s not too far from the truth. As with William Goldman’s film (and novel), Your Highness both affirms and challenges genre conventions. But Your Highness is, frankly, a lot less innocent and charming. While James Franco and Natalie Portman – as a female warrior on a quest of her own – keep commendably straight faces amid the stream of knob gags, McBride gives free rein to Thadeous’ devious, philandering instincts. When first we meet him, he’s about to be hung for bedding the Dwarf King’s wife. Later, when Fabious is struggling to hold down a lungful of dope smoke, an irritated Thadeous snaps at his less-worldly brother: “Learn to handle your shit, Fabious.” It’s the kind of character you could imagine Jack Black or Will Ferrell playing; bulging eyes, potty mouthed, screamingly funny. With Black and Ferrell both currently experiencing career lulls, it might not be too much longer before McBride assumes their place at the movie comedians’ top table.

McBride has range, too – witness his performance as George Clooney’s future brother-in-law in Up In The Air. Promisingly, we’ll next see him as Beastie Boy Adam Yauch, opposite Seth Rogen as Mike D and Elijah Wood as Ad Roc, in Fight For Your Right Revisited; a comedy short directed by Yauch about the Beastie’s “Fight For Your Right To Party” video. The last couple of years have been quite a remarkable ride for Danny McBride. One only hopes he can continue to handle his shit.

Michael Bonner

TV ON THE RADIO – NINE TYPES OF LIGHT

0

Emerging from their Brooklyn loft-studio in 2003, TV On The Radio rapidly grew to epitomise a musical New York renaissance that owed nothing to The Strokes’ new-wave jangle of two years previous. As their soulful debut EP Young Liars demonstrated, this was a group with rather more visionary ideas in mind: TVOTR’s modernist art-rock combined experimental production with mass appeal, and while their albums have not sold in earth-shaking quantities, the ingenuity of the likes of 2006’s Return To Cookie Mountain marked out the band’s David Sitek as a sort of Eno-like superproducer for the Big Apple set, playing midwife to albums for Yeah Yeah Yeahs, Liars and Scarlett Johansson. If there’s a common rule to such auteurs, though, it’s that they seldom sit still for long. So after 2008’s Dear Science, Sitek upped sticks and crossed the continent, holing up in Los Angeles and embarking on a solo project, Maximum Balloon. Following 2008’s Dead Science, vocalist/loops man Tunde Adebimpe and guitarist/co-vocalist Kyp Malone also took leave, the former pursuing an acting career, the latter recording as Rain Machine. Reconvening for the making of Nine Types Of Light, TVOTR looked west to Sitek’s hilltop Beverly Hills abode, and LA’s free and easy spirit appear to have left an imprint on the record itself – as Sitek put it recently, “having a barbecue running the whole time was certainly a different vibe.” While this record resembles its predecessor, it has certainly soaked up a little sun along the way. The opening “Second Song” is very TVOTR, being both a song about being in love with music, and being a bit geeky about the process of its creation. “Every sonic evolution/Make your contribution/To the light” sings Kyp Malone in tingling falsetto, over scintillating guitars and massed horns. In the past, their lyrics have tended towards the cryptic, but here they are often rather straightforward, and better for it: “If the world falls apart/How’m I gonna keep your heart?” croons Malone on “Keep Your Heart”, a pretty concoction of acoustic guitar and snowy synths caught mid-thaw. The excellent “Will Do”, meanwhile, recalls a mellow Peter Gabriel. Sitek’s critics maintain his kitchen sink productions are too cluttered, which isn’t entirely unfair – there are times, such as the spiky, percussive “New Cannonball Blues” where you feel the song is stifled by the layers of bleeps, brass and strings. He is learning to hold back, though: see “Killer Crane”, a serene ballad that changes utterly with just the ring of a banjo halfway through. And notably, much of the claustrophobia of the past has lifted, with the record’s more energetic moments tending to feel rather more celebratory than on-edge. “Caffeinated Consciousness” rides an enjoyably lunk-headed riff of horns and cranked guitar, while the Malone-fronted “No Future Shock” is a delirious jive that invents its own end-of-days dance craze – “Do the No Future! Do the No Future!” – in the process. Elsewhere, the band remain fond of doffing the cap to footnotes of musical history, with “Repetition” riffing on the hook of Dream Warriors’ jazz-rap hit “My Definition Of A Boombastic Jazz Style”. “My repetition/My repetition is this!” chants Malone over shrieking guitars – although elsewhere, the song investigates more disquieting territory, evoking shadowy, Lynchian goings on. This dark tint filters into Nine Types Of Light’s closing track, “Forgotten”. Powered by low-riding synths, it’s a nocturnal-feeling satire on valley living, from plastic surgery to social etiquette: “Beverly Hills/Nuclear winter/What shall we wear/And who’s for dinner?”sings Adebimpe. It’s an arch look at La-La Land through New York eyes, and the most explicit sign here that TVOTR are far from home. Don’t worry about them, though: Nine Types Of Light suggests they’re settling in nicely. Louis Pattison

Emerging from their Brooklyn loft-studio in 2003, TV On The Radio rapidly grew to epitomise a musical New York renaissance that owed nothing to The Strokes’ new-wave jangle of two years previous. As their soulful debut EP Young Liars demonstrated, this was a group with rather more visionary ideas in mind: TVOTR’s modernist art-rock combined experimental production with mass appeal, and while their albums have not sold in earth-shaking quantities, the ingenuity of the likes of 2006’s Return To Cookie Mountain marked out the band’s David Sitek as a sort of Eno-like superproducer for the Big Apple set, playing midwife to albums for Yeah Yeah Yeahs, Liars and Scarlett Johansson.

If there’s a common rule to such auteurs, though, it’s that they seldom sit still for long. So after 2008’s Dear Science, Sitek upped sticks and crossed the continent, holing up in Los Angeles and embarking on a solo project, Maximum Balloon. Following 2008’s Dead Science, vocalist/loops man Tunde Adebimpe and guitarist/co-vocalist Kyp Malone also took leave, the former pursuing an acting career, the latter recording as Rain Machine.

Reconvening for the making of Nine Types Of Light, TVOTR looked west to Sitek’s hilltop Beverly Hills abode, and LA’s free and easy spirit appear to have left an imprint on the record itself – as Sitek put it recently, “having a barbecue running the whole time was certainly a different vibe.”

While this record resembles its predecessor, it has certainly soaked up a little sun along the way. The opening “Second Song” is very TVOTR, being both a song about being in love with music, and being a bit geeky about the process of its creation. “Every sonic evolution/Make your contribution/To the light” sings Kyp Malone in tingling falsetto, over scintillating guitars and massed horns. In the past, their lyrics have tended towards the cryptic, but here they are often rather straightforward, and better for it: “If the world falls apart/How’m I gonna keep your heart?” croons Malone on “Keep Your Heart”, a pretty concoction of acoustic guitar and snowy synths caught mid-thaw. The excellent “Will Do”, meanwhile, recalls a mellow Peter Gabriel.

Sitek’s critics maintain his kitchen sink productions are too cluttered, which isn’t entirely unfair – there are times, such as the spiky, percussive “New Cannonball Blues” where you feel the song is stifled by the layers of bleeps, brass and strings. He is learning to hold back, though: see “Killer Crane”, a serene ballad that changes utterly with just the ring of a banjo halfway through. And notably, much of the claustrophobia of the past has lifted, with the record’s more energetic moments tending to feel rather more celebratory than on-edge. “Caffeinated Consciousness” rides an enjoyably lunk-headed riff of horns and cranked guitar, while the Malone-fronted “No Future Shock” is a delirious jive that invents its own end-of-days dance craze – “Do the No Future! Do the No Future!” – in the process.

Elsewhere, the band remain fond of doffing the cap to footnotes of musical history, with “Repetition” riffing on the hook of Dream Warriors’ jazz-rap hit “My Definition Of A Boombastic Jazz Style”. “My repetition/My repetition is this!” chants Malone over shrieking guitars – although elsewhere, the song investigates more disquieting territory, evoking shadowy, Lynchian goings on.

This dark tint filters into Nine Types Of Light’s closing track, “Forgotten”. Powered by low-riding synths, it’s a nocturnal-feeling satire on valley living, from plastic surgery to social etiquette: “Beverly Hills/Nuclear winter/What shall we wear/And who’s for dinner?”sings Adebimpe. It’s an arch look at La-La Land through New York eyes, and the most explicit sign here that TVOTR are far from home. Don’t worry about them, though: Nine Types Of Light suggests they’re settling in nicely.

Louis Pattison

BOB DYLAN – IN CONCERT: BRANDEIS UNIVERSITY 1963

0

On May 10, 1963, 21-year-old Bob Dylan played a folk festival at Brandeis University, a Jewish college in Waltham, Massachusetts, on the outskirts of Boston, just as his career was about to explode. Now, thanks to a reel-to-reel soundboard tape recently discovered in the archives of the late music critic Ralph J Gleason, we have a snapshot of this game-changing artist on the verge of being recognised as such. This was just before Columbia finally got around to releasing The Freewheelin’ Bob Dylan, the far more revealing and successful follow-up to his anaemic-selling 1962 self-titled debut. That summer, Peter, Paul & Mary’s cover of “Blowin’ In The Wind” would top the US charts en route to becoming an anthem of the Civil Rights and anti-war movements, while his stunning set at the Newport Folk Festival would irrevocably transform folk music, previously the province of clean-cut journeyman groups like The Kingston Trio, The Brothers Four and The Highwaymen. But the Bob Dylan who headed up to Brandeis was one of the more obscure performers booked for the festival, his prospects seemingly further dimmed by his woolly bray and atonal harmonica playing. We’ll never know whether Dylan gave a thought to where he was playing, or whether the Brandeis underclassmen who got their first taste of his music that day had any inkling that this rustic from the upper Midwest was also Jewish. What we do know is that, by this time, his sensibility was fully formed and he was brimming with confidence, enough so that his decisions were unsullied by any external pressures. By the time he’s finished the first number, a folk chestnut he’d reconfigured as “Honey, Just Allow Me One More Chance”, Dylan appears to have gauged his audience and figured out how to entertain them, captivate them and astound them, all the while amusing himself in the process. Without any preliminary comments, he launches into “Talkin’ John Birch Paranoid Blues”, and within two or three verses fully engages the initially indifferent crowd with this caterwauling send-up of right-wing extremists. Given the composition of the audience, this is provocative material indeed, with the clueless narrator’s references to Hitler’s genocide and the McCarthy era’s blacklisting of many largely Jewish intellectuals. They eat it up, peals of laughter rolling toward Dylan onstage with every verse-resolving punchline, as he does what amounts to a stand-up routine in rhyme. (Just two days later, Dylan would walk out of a scheduled appearance on The Ed Sullivan Show – his first shot at national exposure – when the producers refused to let him perform this song.) He then undergoes a radical mood shift from sociopolitical humour to Shakespearean high drama in modern dress with “Ballad Of Hollis Brown”, which tells the story of an impoverished South Dakota farmer who goes over the edge, killing his wife and children before turning the shotgun on himself. Dylan progressively ratchets up the tension during the seven-minute performance, the crowd now hushed, rapt. With barely a pause, he undergoes another transformation, from tragedian to protest singer, with “Masters Of War”, the audience now completely in his thrall. The first set ends with sustained applause punctuated with cheers. In his later three-song performance, he opts to sandwich the satirical “Talkin’ World War III Blues” and “Talkin’ Bear Mountain Picnic Massacre Blues”, each of which finds broad humour in human foibles, around the Freewheelin… lynchpin “Bob Dylan’s Dream”, a shimmering vision of humanity at its most noble and precious. Most of those in attendance had no idea who Bob Dylan was before today, but they’ll never forget him now. If Live At The Gaslight from October 1962 – long-bootlegged but officially released in 2005 – showed the young Dylan in his element, then this recording demonstrates what he was capable of out of his element: a skillful entertainer working the crowd, reaching into his trick bag and pulling out just what he needs to get the job done. And whether he’s being perverse or instinctual, he doesn’t even bother to break out any of the indelible showstoppers that are by this point in his arsenal. This is the young Dylan in microcosm, marching to the beat of a different drummer, and taking no prisoners. Bud Scoppa

On May 10, 1963, 21-year-old Bob Dylan played a folk festival at Brandeis University, a Jewish college in Waltham, Massachusetts, on the outskirts of Boston, just as his career was about to explode. Now, thanks to a reel-to-reel soundboard tape recently discovered in the archives of the late music critic Ralph J Gleason, we have a snapshot of this game-changing artist on the verge of being recognised as such.

This was just before Columbia finally got around to releasing The Freewheelin’ Bob Dylan, the far more revealing and successful follow-up to his anaemic-selling 1962 self-titled debut. That summer, Peter, Paul & Mary’s cover of “Blowin’ In The Wind” would top the US charts en route to becoming an anthem of the Civil Rights and anti-war movements, while his stunning set at the Newport Folk Festival would irrevocably transform folk music, previously the province of clean-cut journeyman groups like The Kingston Trio, The Brothers Four and The Highwaymen. But the Bob Dylan who headed up to Brandeis was one of the more obscure performers booked for the festival, his prospects seemingly further dimmed by his woolly bray and atonal harmonica playing.

We’ll never know whether Dylan gave a thought to where he was playing, or whether the Brandeis underclassmen who got their first taste of his music that day had any inkling that this rustic from the upper Midwest was also Jewish. What we do know is that, by this time, his sensibility was fully formed and he was brimming with confidence, enough so that his decisions were unsullied by any external pressures. By the time he’s finished the first number, a folk chestnut he’d reconfigured as “Honey, Just Allow Me One More Chance”, Dylan appears to have gauged his audience and figured out how to entertain them, captivate them and astound them, all the while amusing himself in the process.

Without any preliminary comments, he launches into “Talkin’ John Birch Paranoid Blues”, and within two or three verses fully engages the initially indifferent crowd with this caterwauling send-up of right-wing extremists. Given the composition of the audience, this is provocative material indeed, with the clueless narrator’s references to Hitler’s genocide and the McCarthy era’s blacklisting of many largely Jewish intellectuals. They eat it up, peals of laughter rolling toward Dylan onstage with every verse-resolving punchline, as he does what amounts to a stand-up routine in rhyme. (Just two days later, Dylan would walk out of a scheduled appearance on The Ed Sullivan Show – his first shot at national exposure – when the producers refused to let him perform this song.)

He then undergoes a radical mood shift from sociopolitical humour to Shakespearean high drama in modern dress with “Ballad Of Hollis Brown”, which tells the story of an impoverished South Dakota farmer who goes over the edge, killing his wife and children before turning the shotgun on himself. Dylan progressively ratchets up the tension during the seven-minute performance, the crowd now hushed, rapt. With barely a pause, he undergoes another transformation, from tragedian to protest singer, with “Masters Of War”, the audience now completely in his thrall. The first set ends with sustained applause punctuated with cheers. In his later three-song performance, he opts to sandwich the satirical “Talkin’ World War III Blues” and “Talkin’ Bear Mountain Picnic Massacre Blues”, each of which finds broad humour in human foibles, around the Freewheelin… lynchpin “Bob Dylan’s Dream”, a shimmering vision of humanity at its most noble and precious. Most of those in attendance had no idea who Bob Dylan was before today, but they’ll never forget him now.

If Live At The Gaslight from October 1962 – long-bootlegged but officially released in 2005 – showed the young Dylan in his element, then this recording demonstrates what he was capable of out of his element: a skillful entertainer working the crowd, reaching into his trick bag and pulling out just what he needs to get the job done. And whether he’s being perverse or instinctual, he doesn’t even bother to break out any of the indelible showstoppers that are by this point in his arsenal. This is the young Dylan in microcosm, marching to the beat of a different drummer, and taking no prisoners.

Bud Scoppa

The 14th Uncut Playlist Of 2011

0

An extra-long list this week, since we seem to have worked our way through more stuff than usual. A lot of good stuff, too, I’d say, with one or two exceptions, and a tremendous new mystery record that’s coming out in the summer and which hasn’t, I think, been announced as yet – hence the necessary evasiveness. A quick thanks, before I roll this one out, to Arbouretum’s Dave Heumann, who posted on the review of Arbouretum’s recent London show; nice that they enjoyed it as much as we did. 1 Robert Johnson – The Centennial Collection (Legacy) 2 Big Youth – Screaming Target (Sunspot) 3 Ty Segall – Good bye Bread (Drag City) 4 WhoMadeWho – Knee Deep (Kompakt) 5 Metronomy – The English Riviera (Because) 6 The Black Swans – Don’t Blame The Stars (Misra) 7 Elle Osborne – So Slowly Slowly She Got Up (Folk Police) 8 Blanck Mass – Blanck Mass (Rock Action) 9 My Morning Jacket – Circuital (V2) 10 The Outsiders – CQ (RPM) 11 Roy Harper – Songs Of Love And Loss Volumes 1 And 2 (Believe) 12 Bill Callahan – Apocalypse (Drag City) 13 Huntsville – For Flowers, Cars And Merry Wars (Hubro) 14 Mystery Record 15 The Oscillation – Veils (All Time Low) 16 Sebastian – Total (Ed Banger) 17 Jesse Sparhawk & Eric Carbonara – Sixty Strings (VHF) 18 Howlin Wolf – The Howlin Wolf Album (Get On Down) 19 Gang Gang Dance – Eye Contact (4AD) 20 Tamikrest – Toumastin (Glitterhouse) 21 Moon Duo – Mazes (Souterrain Transmissions) 22 The People’s Temple – Sons Of Stone (Hozac) 23 Barn Owl – Lost In The Glare (Thrill Jockey) 24 Suuns – Zeroes QC (Secretly Canadian) 25 Arborea – Red Planet (Strange Attractors Audio House)

An extra-long list this week, since we seem to have worked our way through more stuff than usual. A lot of good stuff, too, I’d say, with one or two exceptions, and a tremendous new mystery record that’s coming out in the summer and which hasn’t, I think, been announced as yet – hence the necessary evasiveness.

Soundgarden abandon grunge for new album

0
Soundgarden have said that their new album will be quite different from their early material. The band have previously said in the past that their first album for 15 years will [url=http://www.nme.com/news/soundgarden/55297]feature 'updated old material'[/url], but guitarist Kim Thayil has seemingl...

Soundgarden have said that their new album will be quite different from their early material.

The band have previously said in the past that their first album for 15 years will [url=http://www.nme.com/news/soundgarden/55297]feature ‘updated old material'[/url], but guitarist Kim Thayil has seemingly ruled this out, saying the band’s new LP will sound quite different.

Speaking to Kerrang!, Thayil said: “We want to make sure the material excites us. The last thing we want to make is another grunge or metal record.”

He added that the Seattle band want to record an album with “material that excites us.”

Thayil said that there was no target release date for the album yet, only adding that the band want to record and release the album “as soon as possible”, but that singer Chris Cornell‘s solo tour and drummer Matt Cameron‘s commitments with Pearl Jam have to come first.

He said: “Everything is contingent on the primary careers of the band. Everyone wants the album to come out as soon as possible, but at the moment, there’s no reason to rush anything.”

Thayil also said the band would be likely to tour the new album when it is released.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Phil Spector launches murder appeal bid

0
Phil Spector's lawyers have launched a fresh appeal against his 2009 murder conviction and asked for a third trial. His legal team urged three judges at California's appeal court in Los Angeles yesterday (April 12) to throw out his original sentence on the grounds it was prejudiced by testimony fr...

Phil Spector‘s lawyers have launched a fresh appeal against his 2009 murder conviction and asked for a third trial.

His legal team urged three judges at California‘s appeal court in Los Angeles yesterday (April 12) to throw out his original sentence on the grounds it was prejudiced by testimony from five women who claimed to be victims of gun-related incidents with the producer in the past.

Spector‘s lawyers maintain that Clarkson committed suicide out of depression but the prosecution insists his history of gun play was relevant to the case, reports Reuters.

A similar appeal was launched just over a year ago by his lawyers.

Spector was given a 19-years-to-life jail sentence in May 2009 for the murder of actress Lana Clarkson in 2003 after a second trial.

His first was declared a mistrial after jurors were deadlocked.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Foo Fighters give away master tapes

0
Foo Fighters frontman Dave Grohl has revealed the band have inserted the master tapes from their new album 'Wasting Light' into copies of the album. The band recorded the album on analogue tape and according to Grohl, decided to destroy it once they'd finished making the LP. In an interview with...

Foo Fighters frontman Dave Grohl has revealed the band have inserted the master tapes from their new album ‘Wasting Light’ into copies of the album.

The band recorded the album on analogue tape and according to Grohl, decided to destroy it once they’d finished making the LP.

In an interview with LA Weekly, Grohl said: “We recorded the record in my garage to analogue tape, and probably wound up with 20-30 reels of tapes.”

“At the end of the session I thought it would be an extraordinary move to destroy all the masters and give the pieces of the tapes to the fans.”

He added that the band decided to do it to “prove a point to everybody to show how intangible a real tape can be”.

“I thought, let’s chop it up into a million pieces, and give it to the people who buy the album so they can hold it in their hands and see it.”

Grohl also said that the band wanted “to go fully analogue. For sonic reasons, and also because I feel like digital recording has gotten out of control. It’s too easy to control”.

“When I listen to music these days, and I hear Pro Tools and drums that sound like a machine. It sucks the life out of the music.”

Fans will be able to tell if they’ve got an album with a piece of tape inside it as each one has a sticker on the front which says: “Recorded entirely on analogue tape in Dave‘s garage. A piece of the original master tape included in this package.”

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

WhoMadeWho: “Knee Deep”

0

As with Metronomy on Monday, I’m going to have to confess general ignorance of the Danish band WhoMadeWho. Along with “The English Riviera”, though, I’ve been playing this one a lot for the past week or so. Not least because, in a world without LCD Soundsystem, “Knee Deep” works as a pretty useful substitute. I think I said something similar with regard to last year’s Shit Robot record, but WhoMadeWho seem to be tapping into a slightly darker side of LCD: great arpeggiating waves recur again and again, as if extrapolated, perhaps, from “Someone Great”. It’s a curious album, in that just after halfway it becomes a series of remixes of one track, “Every Minute Alone”, but there’s a driving intensity and cohesion throughout which makes it all hang together, however implausibly. The LCD optimal point occurs around the middle of “Knee Deep”, with “All That I Am” (that arch, gruff male vulnerability, as well as the pulsating music), and “Nothing Has Changed” which, from memory, clicks off a little like “On Repeat”. And while I’m aware that relying on Wikipedia for facts is a risky game, the claim there that Queens Of The Stone Age have covered a WhoMadeWho song in the past has a certain logic to it. In fact, it made me think of Josh Homme and James Murphy as very similar figures: bright, obsessive, self-aware alphamales of a certain age, capable of streamlining a wealth of musical knowledge into immensely focused, drilled jams. WhoMadeWho might notionally orient themselves closer to techno than rock (“Knee Deep” comes on Kompakt, traditional home of clean lines and aesthetically-elevated electronic minimalism). But if Homme often strives to give rock a robotic imperative, WhoMadeWho seem to be heading towards the same place, more or less, from the opposite direction. That’s most apparent on the original mix of “Every Minute Alone”, insidious enough as it is, without being worked through four more versions before the end of the record. Best of all, though, is “Two Feet Off Ground”, which ramps up the steely arpeggios even more (early Underworld, maybe?), and adds a lead vocal from Tomas Hoffding which recalls both Murphy and also David Gahan. Can’t say I’ve ever been much of a fan of Depeche Mode, but “Two Feet Off Ground” is more or less how I always hoped some of their deeper tracks might sound: crisp and forceful, with a little gothic set-dressing, and with a nagging tune beneath the synth waves that betrays a muscular pop upgrade. If anyone knows their way around the first two WhoMadeWho albums, let me know; pretty intrigued right now.

As with Metronomy on Monday, I’m going to have to confess general ignorance of the Danish band WhoMadeWho. Along with “The English Riviera”, though, I’ve been playing this one a lot for the past week or so. Not least because, in a world without LCD Soundsystem, “Knee Deep” works as a pretty useful substitute.

Iron And Wine, Gruff Rhys, Villagers added to Green Man festival

0

Iron And Wine are to headline the Sunday night (August 21) of this year's Green Man festival. Gruff Rhys, Noah And The Whale, James Blake and James Yorkston have also joined the line-up. Explosions In The Sky will headline the Friday night of the event, while Fleet Foxes will headline the Saturday. Villagers, 2:54 and Holy Fuck are also on the bill for the Brecon Beacons bash. The event takes place on August 19-21. See Greenman.net for more information. The Green Man line-up so far is: Fleet Foxes Explosions In The Sky Iron & Wine Bellowhead The Burns Unit Villagers The Low Anthem Holy Fuck Gruff Rhys Noah And The Whale James Blake James Yorkston The Leisure Society Admiral Fallow Duotone Driver Drive Faster Ute Hannah Peel Lia Ices Oh Ruin The Doozer Treecreeper Wild Nothing Polar Bear Robyn Hitchcock Ellen & The Escapades Our Broken Garden Emily Barker The Gentle Good 2:54 The Travelling Band Bleeding Heart Narrative The Ramshackle Union Band Latest music and film news on Uncut.co.uk. Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Iron And Wine are to headline the Sunday night (August 21) of this year’s Green Man festival.

Gruff Rhys, Noah And The Whale, James Blake and James Yorkston have also joined the line-up.

Explosions In The Sky will headline the Friday night of the event, while Fleet Foxes will headline the Saturday. Villagers, 2:54 and Holy Fuck are also on the bill for the Brecon Beacons bash.

The event takes place on August 19-21. See Greenman.net for more information.

The Green Man line-up so far is:

Fleet Foxes

Explosions In The Sky

Iron & Wine

Bellowhead

The Burns Unit

Villagers

The Low Anthem

Holy Fuck

Gruff Rhys

Noah And The Whale

James Blake

James Yorkston

The Leisure Society

Admiral Fallow

Duotone

Driver Drive Faster

Ute

Hannah Peel

Lia Ices

Oh Ruin

The Doozer

Treecreeper

Wild Nothing

Polar Bear

Robyn Hitchcock

Ellen & The Escapades

Our Broken Garden

Emily Barker

The Gentle Good

2:54

The Travelling Band

Bleeding Heart Narrative

The Ramshackle Union Band

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

White Stripes quoted by US Congresswoman Donna Edwards

0

The White Stripes' 2007 song 'Effect And Cause' has been used in a speech by US Democratic Congresswoman Donna Edwards to chide opposition politicians. Edwards quoted lyrics from the song after saying it was "a lesson to our Republican colleagues". She was speaking in a debate about the possible closure of the US federal government last week, reports The Telegraph. She referenced the song by telling Congress: "If you're heading to the grave, you don't blame the hearse." Edwards then added: "You seem to forget just how this song started. You just can't take the effect and make it the cause." A shutdown of the federal government was temporarily avoided on April 8, as the Republicans and Democrats came to an agreement over the matter with just two hours to go before deadline. Latest music and film news on Uncut.co.uk. Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

The White Stripes‘ 2007 song ‘Effect And Cause’ has been used in a speech by US Democratic Congresswoman Donna Edwards to chide opposition politicians.

Edwards quoted lyrics from the song after saying it was “a lesson to our Republican colleagues”. She was speaking in a debate about the possible closure of the US federal government last week, reports The Telegraph.

She referenced the song by telling Congress: “If you’re heading to the grave, you don’t blame the hearse.”

Edwards then added: “You seem to forget just how this song started. You just can’t take the effect and make it the cause.”

A shutdown of the federal government was temporarily avoided on April 8, as the Republicans and Democrats came to an agreement over the matter with just two hours to go before deadline.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.