Subscribe
Home Blog Page 903

Club Uncut Launches Tonight With Dawn Landes

Uncut
-
0
Club Uncut Launches Tonight With Dawn Landes

Come and join us as New York-based singer-songwriter and sometime sound engineer for Ryan Adams and Phillip Glass - Dawn Landes headlines the first Uncut Live club night taking place tonight (March 20)! Our new monthly gig nights in the capital launch with Landes at the Borderline venue -- with support coming from hotly-tipped Swedish folk singer Peter Von Poehl and last year's Glastonbury festival new talent winner, singer Liz Green. Uncut Live will be bringing you our favourite new artists, once a month at London's intimate Borderline -- artists for next month's gig will be announced soon. Check back to www.uncut.co.uk for info. A few tickets are still available on the door for the first Uncut Live night. For more information on the artists, and to hear audio clips, check: www.myspace.com/dawnlandes www.myspace.com/petervonpoehl http://www.myspace.com/lizgreenmusic

Come and join us as New York-based singer-songwriter and sometime sound engineer for Ryan Adams and Phillip Glass – Dawn Landes headlines the first Uncut Live club night taking place tonight (March 20)!

Our new monthly gig nights in the capital launch with Landes at the Borderline venue — with support coming from hotly-tipped Swedish folk singer Peter Von Poehl and last year’s Glastonbury festival new talent winner, singer Liz Green.

Uncut Live will be bringing you our favourite new artists, once a month at London’s intimate Borderline — artists for next month’s gig will be announced soon.

Check back to www.uncut.co.uk for info.

A few tickets are still available on the door for the first Uncut Live night.

For more information on the artists, and to hear audio clips, check:

www.myspace.com/dawnlandes

www.myspace.com/petervonpoehl

http://www.myspace.com/lizgreenmusic

Nick Cave And The Bad Seeds Confirm New Single

Uncut
-
0
Nick Cave And The Bad Seeds Confirm New Single
Nick Cave & The Bad Seeds have confirmed details of their brand single, the second from their critically acclaimed album ‘Dig, Lazarus, Dig!’. The track, ‘More News From Nowhere’ is set for release on May 12 and will feature an exclusive new track “Fleeting Love” on the B-side. The...

Nick Cave & The Bad Seeds have confirmed details of their brand single, the second from their critically acclaimed album ‘Dig, Lazarus, Dig!’.

The track, ‘More News From Nowhere’ is set for release on May 12 and

will feature an exclusive new track “Fleeting Love” on the B-side. The single’s cover art has been designed by renowned artists Time Noble and Sue Webster.

‘More News From Nowhere’ will be available on CD, 7” and download.

In a statement from the band Cave say the song has “nothing to do with the classic work of utopian fiction (1890) by William Morris. What interests me most about ‘More News From Nowhere’ is that quite possible, although I can’t be completely sure, the central character is dead and his story is just a kind of posthumous bad-trip, a death-trip, so to speak.”

Nick Cave & The Bad Seeds are about to embark on their first UK tour since 2005, the tour dates are as follows:

Dublin, Castle (May 3)

Glasgow, Academy (4) Sold out

Birmingham, Academy (5) Sold out

London, Hammersmith Apollo (7/8) Sold out

London, Hammersmith Apollo (9)

Beck’s Odelay Revisited! Plus New Supergrass Album Reviewed

Uncut
-
0
Beck’s Odelay Revisited! Plus New Supergrass Album Reviewed
Uncut.co.uk publishes a weekly selection of music reviews; including new, reissued and compilation albums. Find out about the best here, by clicking on the album titles below. All of our reviews feature a 'submit your own review' function - we would love to hear about what you've heard lately. The...

Uncut.co.uk publishes a weekly selection of music reviews; including new, reissued and compilation albums. Find out about the best here, by clicking on the album titles below.

All of our reviews feature a ‘submit your own review’ function – we would love to hear about what you’ve heard lately.

These albums are all set for release next week (March 24):

Beck – Odelay Deluxe Edition – 90s slack hop opus, remastered and extended with remixes, B-sides and two unreleased tracks has stood up to the test of time — Stephen Trousse revists Beck’s genius.

Supergrass – Dimond Hoo Ha – Britpop alumni enter ‘Berlin! period. Almost. Uncut Q&A with frontman Gaz Coombs too.

Foals – Antidote – Precocious Oxford quintet’s daringly different debut earns four-star review. Check it out here.

Plus here are five of UNCUT’s recommended new releases from the past few weeks – check out these albums if you haven’t already:

Elbow – The Seldom Seen Kid – Guy Garvey and band return with great fourth album, featuring a duet with Richard Hawley too.

Stephen Malkmus & The Jicks – Real Emotional Trash – Former Pavement slacker Malkmus returns with second album backed by the Jicks.

Various Artists – Theme Time Radio Hour With Your Host Bob Dylan – A fully authorised two-CD collection of Bob Dylans cool radio show has finally been collated.

The Black Crowes – Warpaint The Black Crowes return after a seven year silence, with an album that “operates comfortably inside parameters defined by The Rolling Stones, The Band, The Faces and Creedence Clearwater Revival”.

Nick Cave & The Bad Seeds – Dig, Lazurus, Dig!!! – “The band has never sounded better, and Cave seems to have relaxed into the hysteria of his vocal style; like Elmer Gantry singing Leonard Cohen at a tent-revival.”

For more reviews from the 3000+ UNCUT archive – check out: www.www.uncut.co.uk/music/reviews.

Beck – Odelay: Deluxe Edition

Uncut
-
0
Beck – Odelay: Deluxe Edition

In the summer of 1994 following the death of Kurt Cobain, an enterprising exec might have put together a compilation LP celebrating the rise and fall of post-grunge alternative rock. All the 120 Minutes one-hit whiners could be there: Temple of the Dog, L7, Gin Blossoms, Soul Asylum, 4 Non-Blondes, Blind Melon, maybe that limey band that did “Creep”, and to top it all off with just the right twist of Gen-X irony, “Loser” by Beck. Ker-ching!, as they said back then. At the time it was easy to see “Loser” as a delta-blues breakbeat update of Rod McKuen's 1959 Beatsploitaton number “The Beat Generation” (“some people say I'm lazy, and my life's a wreck / but that stuff don't phase me, I get unemployment cheques”). But who could have predicted this boho bozo would wind up creating one of the definitive albums of the decade? A 90s cultural landmark, now newly remastered and extended with b-sides, doodles and novelty goof-offs, Odelay could have easily turned out a very different record. A dismal experience on the 95 Lollapollooza tour and, in particular, the deaths of friends and family (including his grandfather and cut-and-paste inspiration, Al Hansen), had all sent Beck into a deep funk. Initial recordings in 1995 with Bong Load producers Tom Rothrock and Rob Schnapf had tended to sweetly despondent Neil Young-style laments. Maybe it was his horror of cliché, the sheer predictability of making a record - let's call it The Bends - about the sudden rush to celebrity and showbiz torpor, that made him think twice, but only “Ramshackle” would survive from these sessions to the final record (two more, the stunning elegy “Brother” and “Feather In Your Cap” now appear on the additional disc). Instead Beck hooked up with the Dust Brothers – Mike Simpson and John King, visionary architects of The Beastie Boys' magnificent flop Paul's Boutique - and set about making Odelay. From its title on down (a studio corruption of “Orale”, the chicano equivalent of “Hell yeah!”) the trio conspired to make a defiantly, dementedly affirmative party record, something to send the Lollapaloozers wild. If the debut Mellow Gold had been, in Beck's words, “a satanic K-Tel record found in a dumpster”, then Odelay was some acid-fried Folkways sampler, a set of American field recordings, as sampled by stoned enthnomusicollagists with a sick sense of humour. Harry Smith would surely have applauded. Beck liked to claim that sessions had been recorded in a studio between The Muppets and Black Sabbath – and the America the album dreams up is bordered by idiot glee and dread. “Devil's Haircut” kicks it off, powered by a souped-up fuzz-riff thieved from Them's “I Can Only Give You Everything”, with some arcane old bluesman “coming to town with the briefcase blues”. A devil's haircut, you could interpret as a sweetly succinct symbol for post-Cobain pop, the world of grunge couture, where rage and despair have become just another fashion accessory. You could see the following record, then, as a desparate escape from that rotting oasis, a Huck Finnish lighting out for the territories, a roadtrip on a Novacane Express, down the Alamo lanes, through the flypaper towns, to find out where, if anywhere, it's really at. “Hotwax” is what you might hear on your jalopy's shortwave on the way, a roadrunner soundtrack as you drive by “karaoke weekends at the suicide shack”, the “Western Unions of the country westerns” and, best of all, the “Silver foxes, looking for romance, in their chainsmoke Kansas flashdance ass-pants” (Beck's freakfolk freestyle yields some solid gold nuggets amongst the jive). The chicano chorus translates as “I'm a broken record with bubblegum in my brain” - a neat enough summation of Odelay's modus operandi. But the gonzo gusto is haunted by the ghost of the record Beck almost made, and some of the sweetest cuts track the lonesome wanderings of this post modern boho: the rippled weariness of “Jack-Ass”, the Tom Waits gamelan of “Derelict”, and the closing “Ramshackle”. Of course nothing seems quite so out-of-date as the fashions of about 12 years ago, not yet ripe for nostalgia, but not fresh in the memory. Listening to some of the bonus tracks compiled on the extra disc – specifically the Aphex offcut “Richard's Haircut” or the 12-minute blunted-beat remix courtesy of trip-hop conceptualists UNKLE – not everything has aged so well. And maybe it's taken a decade and for Gomez to slide away, to hear just what a remarkable record Odelay really was. But I wonder if what really makes Odelay sound so strange (and strong) today isn’t its optimism, “Where It's At'”s faith in the “destination, a little up the road past the destinations and the towns we know” - a vision of some stoned soul picnic where the record’s myriad ingredients bubble up and mingle freely. Which is to say that Odelay now sounds like a time capsule telegram from the high noon of Clintonian possibility - when, for a moment or two, the mythic promise of America didn't seem like such a busted flush. By the end of the year, we'll find out whether that spirit is gone for good. STEPHEN TROUSSÉ

In the summer of 1994 following the death of Kurt Cobain, an enterprising exec might have put together a compilation LP celebrating the rise and fall of post-grunge alternative rock. All the 120 Minutes one-hit whiners could be there: Temple of the Dog, L7, Gin Blossoms, Soul Asylum, 4 Non-Blondes, Blind Melon, maybe that limey band that did “Creep”, and to top it all off with just the right twist of Gen-X irony, “Loser” by Beck. Ker-ching!, as they said back then.

At the time it was easy to see “Loser” as a delta-blues breakbeat update of Rod McKuen’s 1959 Beatsploitaton number “The Beat Generation” (“some people say I’m lazy, and my life’s a wreck / but that stuff don’t phase me, I get unemployment cheques”). But who could have predicted this boho bozo would wind up creating one of the definitive albums of the decade?

A 90s cultural landmark, now newly remastered and extended with b-sides, doodles and novelty goof-offs, Odelay could have easily turned out a very different record. A dismal experience on the 95 Lollapollooza tour and, in particular, the deaths of friends and family (including his grandfather and cut-and-paste inspiration, Al Hansen), had all sent Beck into a deep funk. Initial recordings in 1995 with Bong Load producers Tom Rothrock and Rob Schnapf had tended to sweetly despondent Neil Young-style laments.

Maybe it was his horror of cliché, the sheer predictability of making a record – let’s call it The Bends – about the sudden rush to celebrity and showbiz torpor, that made him think twice, but only “Ramshackle” would survive from these sessions to the final record (two more, the stunning elegy “Brother” and “Feather In Your Cap” now appear on the additional disc). Instead Beck hooked up with the Dust Brothers – Mike Simpson and John King, visionary architects of The Beastie Boys’ magnificent flop Paul’s Boutique – and set about making Odelay.

From its title on down (a studio corruption of “Orale”, the chicano equivalent of “Hell yeah!”) the trio conspired to make a defiantly, dementedly affirmative party record, something to send the Lollapaloozers wild. If the debut Mellow Gold had been, in Beck’s words, “a satanic K-Tel record found in a dumpster”, then Odelay was some acid-fried Folkways sampler, a set of American field recordings, as sampled by stoned enthnomusicollagists with a sick sense of humour. Harry Smith would surely have applauded.

Beck liked to claim that sessions had been recorded in a studio between The Muppets and Black Sabbath – and the America the album dreams up is bordered by idiot glee and dread. “Devil’s Haircut” kicks it off, powered by a souped-up fuzz-riff thieved from Them’s “I Can Only Give You Everything”, with some arcane old bluesman “coming to town with the briefcase blues”. A devil’s haircut, you could interpret as a sweetly succinct symbol for post-Cobain pop, the world of grunge couture, where rage and despair have become just another fashion accessory. You could see the following record, then, as a desparate escape from that rotting oasis, a Huck Finnish lighting out for the territories, a roadtrip on a Novacane Express, down the Alamo lanes, through the flypaper towns, to find out where, if anywhere, it’s really at.

“Hotwax” is what you might hear on your jalopy’s shortwave on the way, a roadrunner soundtrack as you drive by “karaoke weekends at the suicide shack”, the “Western Unions of the country westerns” and, best of all, the “Silver foxes, looking for romance, in their chainsmoke Kansas flashdance ass-pants” (Beck’s freakfolk freestyle yields some solid gold nuggets amongst the jive). The chicano chorus translates as “I’m a broken record with bubblegum in my brain” – a neat enough summation of Odelay’s modus operandi.

But the gonzo gusto is haunted by the ghost of the record Beck almost made, and some of the sweetest cuts track the lonesome wanderings of this post modern boho: the rippled weariness of “Jack-Ass”, the Tom Waits gamelan of “Derelict”, and the closing “Ramshackle”.

Of course nothing seems quite so out-of-date as the fashions of about 12 years ago, not yet ripe for nostalgia, but not fresh in the memory. Listening to some of the bonus tracks compiled on the extra disc – specifically the Aphex offcut “Richard’s Haircut” or the 12-minute blunted-beat remix courtesy of trip-hop conceptualists UNKLE – not everything has aged so well. And maybe it’s taken a decade and for Gomez to slide away, to hear just what a remarkable record Odelay really was.

But I wonder if what really makes Odelay sound so strange (and strong) today isn’t its optimism, “Where It’s At’”s faith in the “destination, a little up the road past the destinations and the towns we know” – a vision of some stoned soul picnic where the record’s myriad ingredients bubble up and mingle freely. Which is to say that Odelay now sounds like a time capsule telegram from the high noon of Clintonian possibility – when, for a moment or two, the mythic promise of America didn’t seem like such a busted flush. By the end of the year, we’ll find out whether that spirit is gone for good.

STEPHEN TROUSSÉ

Supergrass – Diamond Hoo Ha

Uncut
-
0
Supergrass – Diamond Hoo Ha

Can it really be nearly fifteen years since Supergrass hitched a ride to the Britpop party? With all their peers, save a depleted Blur and Oasis, now safely in the rear mirror, five top ten albums in the trunk and a new generation of admirers – most notably The Arctic Monkeys – urging them on, they could be forgiven for cruising nostalgically towards middle-age. But beneath that easy-going exterior lurks a fearsome inner drive. When bassist Mick Quinn sleepwalked through a first floor window and sustained serious injuries last September, most bands would have taken it as an excuse for a year off. Instead, Gaz Coombes and Danny Goffey embarked on a club tour as White Stripes spoof The Diamond Hoo Haa Men, while Quinn made the kind of miraculous recovery normally reserved for David Banner. Such strength of purpose reverberates through Diamond Hoo Ha. Perhaps it’s the thrill of recording at the legendary Hansa studios in Berlin (once home to David Bowie and Japan) which led them to the “Heroes”-esque ambience of “Rebel In You” or the swirling Krautrock rumble of “Rough Knuckles”. All this mesmeric swagger is, however, still matched by a rapier lyrical guile. JJ Cale-esque lament “Ghost In You” sees Gaz bemoaning the loss of a friend to the party set, seething: “There’s always a circus in town/ Vultures, peacocks and hounds” while “Whisky & Green Tea” sees them encountering Chinese dragons, middle-aged schoolgirls and “being chased by William Burroughs” amidst runaway drums and squealing sax. Not quite “We keep our teeth nice and clean”, then. More clues to the demons which forced Danny Goffey to “wander off” during sessions for 2005’s brooding Road To Rouen appear on “When I Needed You” .“In the middle of a shady bar/Broken bottles flying through the air/That’s when I needed you” sighs Gaz, music as ever, a salve for their disrupted friendship. Heavy stuff. But apply megawatt tunes and career-best performances and you’ve got an album to top even 2002’s criminally neglected Life On Other Planets. Twenty-four carat stuff, guaranteed. PAUL MOODY UNCUT Q&A WITH GAZ COOMBES UNCUT: Thisis quite a departure from 2005’s Road To Rouen... GAZ COOMBES: “We’ve all been through the mill in the last couple of years. My mum died, and Mick and Danny both had a few personal issues going on. But we started doing demo’s in my basement and all the songs came out sounding really mental, noisy and brilliant. Playing together in a room helped to get us all close again. Did recording at Hansa inspire you? All the songs were written before we went, but Berlin definitely inspired the feel of the album. We went to some crazy bars, and had a ball. Hence the title-the whole experience was magical -a diamond hoo haa! Does it feel odd to be elder statesmen at thirty? Well, we are getting older, we have to face facts. But most sportsmen reach their best during their late twenties and early thirties, so that’s how I see it. We’re at our peak! INTERVIEW: PAUL MOODY

Can it really be nearly fifteen years since Supergrass hitched a ride to the Britpop party? With all their peers, save a depleted Blur and Oasis, now safely in the rear mirror, five top ten albums in the trunk and a new generation of admirers – most notably The Arctic Monkeys – urging them on, they could be forgiven for cruising nostalgically towards middle-age.

But beneath that easy-going exterior lurks a fearsome inner drive. When bassist Mick Quinn sleepwalked through a first floor window and sustained serious injuries last September, most bands would have taken it as an excuse for a year off. Instead, Gaz Coombes and Danny Goffey embarked on a club tour as White Stripes spoof The Diamond Hoo Haa Men, while Quinn made the kind of miraculous recovery normally reserved for David Banner.

Such strength of purpose reverberates through Diamond Hoo Ha. Perhaps it’s the thrill of recording at the legendary Hansa studios in Berlin (once home to David Bowie and Japan) which led them to the “Heroes”-esque ambience of “Rebel In You” or the swirling Krautrock rumble of “Rough Knuckles”. All this mesmeric swagger is, however, still matched by a rapier lyrical guile.

JJ Cale-esque lament “Ghost In You” sees Gaz bemoaning the loss of a friend to the party set, seething: “There’s always a circus in town/ Vultures, peacocks and hounds” while “Whisky & Green Tea” sees them encountering Chinese dragons, middle-aged schoolgirls and “being chased by William Burroughs” amidst runaway drums and squealing sax. Not quite “We keep our teeth nice and clean”, then.

More clues to the demons which forced Danny Goffey to “wander off” during sessions for 2005’s brooding Road To Rouen appear on “When I Needed You” .“In the middle of a shady bar/Broken bottles flying through the air/That’s when I needed you” sighs Gaz, music as ever, a salve for their disrupted friendship.

Heavy stuff. But apply megawatt tunes and career-best performances and you’ve got an album to top even 2002’s criminally neglected Life On Other Planets. Twenty-four carat stuff, guaranteed.

PAUL MOODY

UNCUT Q&A WITH GAZ COOMBES

UNCUT: Thisis quite a departure from 2005’s Road To Rouen…

GAZ COOMBES: “We’ve all been through the mill in the last couple of years. My mum died, and Mick and Danny both had a few personal issues going on. But we started doing demo’s in my basement and all the songs came out sounding really mental, noisy and brilliant. Playing together in a room helped to get us all close again.

Did recording at Hansa inspire you?

All the songs were written before we went, but Berlin definitely inspired the feel of the album. We went to some crazy bars, and had a ball. Hence the title-the whole experience was magical -a diamond hoo haa!

Does it feel odd to be elder statesmen at thirty?

Well, we are getting older, we have to face facts. But most sportsmen reach their best during their late twenties and early thirties, so that’s how I see it. We’re at our peak!

INTERVIEW: PAUL MOODY

Foals – Antidotes

Uncut
-
0
Foals – Antidotes

Shoehorned by hype merchants into all the right places, over the past few months you're more likely to have read about Foals, or winced at their haircuts, than heard their wired, wiry music. If only it were possible to ignore the cheerleading, because the ideal way to approach Antidotes would be to have no knowledge of the people who made it. Then you'd really be surprised. Of no fixed style, this boyish, disciplined five-piece would appear to want to position themselves between Battles and Bloc Party – like Kele Okereke, frontman Yannis Philippakis is a yelper. Are Foals punching above their weight? Perhaps, but this formidable album proves they've already an appetite for invention and an aptitude for composition equal to those acts. Rarer still, not only are Foals comfortable referencing hip New Yorkers of yesteryear like Steve Reich, Arthur Russell and Glenn Branca, they tend to practice what they preach. Feedback, scuffed and muted, ripples across the album. Like a prized out-take from some mid-'80s Russell session, "Like Swimming"'s chirping highlife figures cascade over humming hardware and handclaps. This unorthodox attitude, a desire to do things differently, galvanises Foals. Having recorded the album with TV On The Radio's David Sitek in New York last summer, for example, the band discarded much of his work and decided to produce it themselves back home. Whichever way you dice it, they've ended up with a set of terrific songs. True, "Cassius" could've fallen off Silent Alarm, and "The French Open", with its lurching tempo and oafish Franglais, is not an attractive opener. More impressive are "Red Sock Pugie", "Olympic Airways" and "Electric Bloom", handsome indie numbers with goosebump choruses garnished with exotic rhythms and otherworldly effects. "Big Big Love (Fig.2)", (i)Antidotes(i)' emotional centrepiece, evokes a disco Mogwai, and it's great fun listening to Foals tie themselves in knots on the final "Tron (Is A Great Film!)". They're an ambitious young band. This is an exciting debut. Now the real challenges can begin. PIERS MARTIN

Shoehorned by hype merchants into all the right places, over the past few months you’re more likely to have read about Foals, or winced at their haircuts, than heard their wired, wiry music. If only it were possible to ignore the cheerleading, because the ideal way to approach Antidotes would be to have no knowledge of the people who made it. Then you’d really be surprised.

Of no fixed style, this boyish, disciplined five-piece would appear to want to position themselves between Battles and Bloc Party – like Kele Okereke, frontman Yannis Philippakis is a yelper. Are Foals punching above their weight? Perhaps, but this formidable album proves they’ve already an appetite for invention and an aptitude for composition equal to those acts.

Rarer still, not only are Foals comfortable referencing hip New Yorkers of yesteryear like Steve Reich, Arthur Russell and Glenn Branca, they tend to practice what they preach. Feedback, scuffed and muted, ripples across the album. Like a prized out-take from some mid-’80s Russell session, “Like Swimming”‘s chirping highlife figures cascade over humming hardware and handclaps.

This unorthodox attitude, a desire to do things differently, galvanises Foals. Having recorded the album with TV On The Radio‘s David Sitek in New York last summer, for example, the band discarded much of his work and decided to produce it themselves back home. Whichever way you dice it, they’ve ended up with a set of terrific songs. True, “Cassius” could’ve fallen off Silent Alarm, and “The French Open”, with its lurching tempo and oafish Franglais, is not an attractive opener. More impressive are “Red Sock Pugie”, “Olympic Airways” and “Electric Bloom”, handsome indie numbers with goosebump choruses garnished with exotic rhythms and otherworldly effects. “Big Big Love (Fig.2)”, (i)Antidotes(i)’ emotional centrepiece, evokes a disco Mogwai, and it’s great fun listening to Foals tie themselves in knots on the final “Tron (Is A Great Film!)”.

They’re an ambitious young band. This is an exciting debut. Now the real challenges can begin.

PIERS MARTIN

Guillemots – Red

Uncut
-
0
Guillemots – Red
Guillemots’ gloriously unhinged, Mercury-nominated debut Through The Window Pain hinted at a startling blend of post-punk exploration and Brian Wilson-ish orchestral nous. Unfortunately, something’s gone seriously wrong with album number two, which sees Fyfe Dangerfield’s quartet bluster throu...

Guillemots’ gloriously unhinged, Mercury-nominated debut Through The Window Pain hinted at a startling blend of post-punk exploration and Brian Wilson-ish orchestral nous. Unfortunately, something’s gone seriously wrong with album number two, which sees Fyfe Dangerfield’s quartet bluster through a ghastly take on 1980s style power pop (think It Bites, think Johnny Hates Jazz).

Amid the thumpy rave drums and those oriental string stabs that the Chemical Brothers used on “Galvanize”, only two songs are halfway memorable: “Falling Out Of Reach” (which might make a nice Leo Sayer ballad) and “Take Me Home” (which lifts the first seven notes of Barry Manilow’s “Mandy”). A huge disappointment.

JOHN LEWIS

The Night Marchers: “See You In Magic”

John Mulvey
-
0

A small recurring theme here these past few weeks has been the work of John ‘Speedo’ Reis, with the release of Rocket From The Crypt’s posthumous live album, “RIP” and the appearance of a new band called The Night Marchers on Myspace. Now, the Night Marchers album has arrived, and I reckon it may be the poppiest thing Reis has ever been involved with. For fans of his gnarlier last band, Hot Snakes, I guess that may sound a little disappointing. But The Night Marchers are basically Hot Snakes minus frontman Rick Froberg, so their juddering, rumbustious energy is still there on “See You In Magic”, just deployed in the service of more immediately accessible, less artpunkish tunes. This is very much Reis’ project: it’s his voice and the clean attack of his guitar right upfront throughout, from the chundering, gleefully malicious psychobilly of “Closed For Inventory” onwards. One new twist on his schtick this time is a bonier kind of rock’n’roll, akin to the stuff Reis has produced for his protégé Dan Sartain. The likes of “Open Your Legs” and “Branded”, all rattling train rhythms, cardboard box drums and crisp Sun Studios ambience, are testimony to this. Another departure is an occasional mellowness: “You Got Nerve” is a terribly mature, startlingly restrained song without, as far as I can remember, an obvious precedent in Reis’ capacious back catalogue. There’s a sense here that, this time, Reis has decided to strip back the heavy throb a little, the better to reveal his vivid songwriting gifts, to privilege his vague affinities with Elvis Costello. “Panther In Crime” reminds me, a little, of Bruce Springsteen as well as Costello – in the same way that Rocket’s “Lipstick” did, if memory serves. The pre-punk reference points keep coming. “And I Keep Holding On”, has a looming clangorousness that, initially, calls to mind “Paint It Black”, if never sounding much like The Rolling Stones. “Jump In The Fire”, meanwhile, begins with a fulsome jangle in the best Byrds tradition – not something I’d ever expect to hear on a record involving Reis. The thing is, Reis incorporates this kind of rock classicism into his routine with the easy, unflinching confidence that has always made all his bands so appealing. And a bunch of the songs on “See You In Magic” – “Total Bloodbath”, “In Dead Sleep (I Snore ZZZZ)”, “I Wanna Deadbeat You” – are right up there with his best; vital, dynamic, rumbustious rock'n'roll. And God, I bet they’re amazing live.

A small recurring theme here these past few weeks has been the work of John ‘Speedo’ Reis, with the release of Rocket From The Crypt’s posthumous live album, “RIP” and the appearance of a new band called The Night Marchers on Myspace. Now, the Night Marchers album has arrived, and I reckon it may be the poppiest thing Reis has ever been involved with.

Continue

Sigur Ros And Interpol Join Franz Ferdinand At Latitude Festival

Uncut
-
0
This year's bash takes shape -- tickets are on sale now! Find out more about the Uncut-sponsored bash here... Sigur Ros and Interpol have been revealed as the two headliners who will join previously announced Franz Ferdinand at this year's Latitude Festival. Icelandic post-rock experimental grou...

This year’s bash takes shape — tickets are on sale now! Find out more about the Uncut-sponsored bash here…

Continue

Sigur Ros And Interpol Join Franz Ferdinand At Latitude Festival

Uncut
-
0
Sigur Ros And Interpol Join Franz Ferdinand At Latitude Festival
Sigur Ros and Interpol have been revealed as the two headliners who will join previously announced Franz Ferdinand at this year's Latitude Festival. Icelandic post-rock experimental group Sigur Ros are currently finishing up their fifth studio album with Smashing Pumpkins' producer Flood in Reykjav...

Sigur Ros and Interpol have been revealed as the two headliners who will join previously announced Franz Ferdinand at this year’s Latitude Festival.

Icelandic post-rock experimental group Sigur Ros are currently finishing up their fifth studio album with Smashing Pumpkins‘ producer Flood in Reykjavík and haven’t played an outdoor show in the UK since 2006.

Returning to the UK after two sell out shows at London’s Alexandra Palace late last year, Interpol, the New Yorkers who released their third album ‘Our Love To Admire’ last year will also top the bill at Latitude this year. Closing the festival on Sunday night (July 20), this will be Interpol’s only UK festival appearance in 2008.

Other artists confirmed so far for Latitude are The Breeders, Elbow, Death Cab For Cutie, M.I.A and Amadou and Mariam.

This year’s Latitude Festival will also see UNCUT hosting our own stage, for the third year running.

Last year saw some of the festival’s biggest crowdpleasers take place in the UNCUT arena, including Rodrigo Y Gabriela, Seasick Steve, Tinariwen and Rickie Lee Jones.

We’ll reveal who’s playing this year’s Uncut Arena in due course. Keep checking www.uncut.co.uk for details.

Of course, Latitude Festival is not just about music, but will also be putting on the best in comedy, films, books, theatre, poetry and cabaret over the three days.

The Pimm’s Comedy Arena has so far already confirmed great acts such as Bill Bailey, Ross Noble, Simon Amstell, Tim Minchin, Phill Jupitus and Marcus Brigstocke and his Early Edition.

The Music and Film Club Arena will see performances from the Buzzcocks and Barry Adamson as well as involving BAFTA again organising film Q&A’s with directors and special film screenings.

Iain Banks, Hanif Kureishi, Irvine Welsh, Mike Gayle, John Burnside, Simon Armitage and even New Order’s Peter Hook will all be performing in the Literary Arena. Hook will be reading from his How Not To Run A Club, while Iain Banks will be dipping into The Steep Approach To Garbadale.

There’s theatre, too, from the Royal Court Theatre, Paines Plough Theatre and the Nabokov new writers theatre company, plus 50 Ways To Leave Your Lover, a series of plays from the Bush Theatre based on the personal experiences of Latitude festivalgoers and UNCUT readers.

Tickets for this year’s event are £130 for the four day event, with day tickets costing £55.

Information and tickets are available from the official Latitude Festival website here: www.latitudefestival.co.uk.

Latitude Festival takes place July 17-20 at Henham Park Estate, Southwold, Suffolk.

We’ll see you there!

Queen Complete First New Album In 13 Years

Uncut
-
0
Queen Complete First New Album In 13 Years
Queen have recorded their first new studio album, bearing the 'Queen' name in thirteen years, and it is due for release on September 1. Brian May and Roger Taylor have recorded the new as-yet-untitled album with Paul Rodgers, the singer/musician who joined them for their 2005/6 world tour. The alb...

Queen have recorded their first new studio album, bearing the ‘Queen’ name in thirteen years, and it is due for release on September 1.

Brian May and Roger Taylor have recorded the new as-yet-untitled album with Paul Rodgers, the singer/musician who joined them for their 2005/6 world tour.

The album, which has been jointly written and produced between the three of them, features the previously released ‘Say it’s Not True’ — the band’s benefit song for Nelson Mandela’s 46664 HIV AIDS charity last World AIDs Day.

The new album is also set to feature Queen’s first ever ‘cover version’.

Queen + Paul Rodgers will head out on a 28-date arena tour two weeks after the album is released, visiting fourteen countries.

Six dates in the UK kick off at Nottingham Arena on October 10. The band will also play Glasgow, London, Cardiff, Birmingham and Liverpool.

Tickets for all UK dates will go on sale at venue box offices and usual ticket agents from Saturday April 5.

Pre-registration for tickets will be available from Wednesday April 2 at www.queenonline.com

Queen + Paul Rodgers will play the following dates:

Moscow SCO Olympic Arena RUSSIA (September 16/17)

Gdansk Shipyard POLAND (20)

Berlin Velodrom GERMANY (21)

Antwerp Sportspaleis BELGIUM (23)

Paris Bercy FRANCE (24)

Rome Palalottomatica ITALY (26)

Verona Arena ITALY (28)

Zurich Hallenstadion SWITZERLAND (29)

Munich Olympiahalle GERMANY (October 1)

Mannheim SAP Arena GERMANY (2)

Hannover TUI Arena GERMANY (4)

Hamburg Color Line Arena GERMANY (5)

Rotterdam Ahoy NETHERLANDS (7)

Nottingham Arena (10)

Glasgow SE&CC (11)

London 02 (13)

Cardiff Arena (14)

Birmingham NIA (16)

Liverpool Arena (18)

Barcelona Palau Sant Jordi SPAIN (22)

Murcia Estadio Municipal SPAIN (24)

Madrid Palacio de Deportes SPAIN (25)

Budapest Sportarena, HUNGARY (28)

Belgrade Arena SERBIA (29)

Prague 02 Arena CZECH REPUBLIC (31)

Vienna Stadthalle AUSTRIA (November 1)

Drive By Truckers Added To Green Man Festival

Uncut
-
0
Drive By Truckers Added To Green Man Festival

This year's Green Man Festival which takes place in Wales in August has had 20 plus new additions to the event billing -- and there's plenty of Uncut loved artists set to play. Joining previously confirmed acts Super Furry Animals, Beirut and Black Mountain include Drive By Truckers, Iron & Wine, The National, The Cave Singers and Caribou. The three day festival takes place at Glanusk Park in the Brecon Beacons from August 15-17. More bands are still to be confirmed, including Sunday night's headliner. Tickets and more information about Green Man is available from the event's official website here: www.thegreenmanfestival.co.uk The Green Man Festival line-up confirmed so far is: Super Furry Animals (Saturday headline) Beirut (Friday headline) Iron & Wine The National Richard Thompson Black Mountain Drive-By Truckers The Cave Singers King Creosote Caribou Magik Markers School of Language Devon Sproule Alela Diane Nina Nastasia Jennifer Gentle The Accidental The Drift Collective Cath and Phil Tyler The Moon Music Orchestra One More Grain The Yellow Moon Band Duke Garwood Threatmantics Mugstar Radio Luxemburg Cymbiant Beth Jeans Houghton Brygyn Very Special Guests (Sunday headline)

This year’s Green Man Festival which takes place in Wales in August has had 20 plus new additions to the event billing — and there’s plenty of Uncut loved artists set to play.

Joining previously confirmed acts Super Furry Animals, Beirut and Black Mountain include Drive By Truckers, Iron & Wine, The National, The Cave Singers and Caribou.

The three day festival takes place at Glanusk Park in the Brecon Beacons from August 15-17.

More bands are still to be confirmed, including Sunday night’s headliner.

Tickets and more information about Green Man is available from the event’s official website here: www.thegreenmanfestival.co.uk

The Green Man Festival line-up confirmed so far is:

Super Furry Animals (Saturday headline)

Beirut (Friday headline)

Iron & Wine

The National

Richard Thompson

Black Mountain

Drive-By Truckers

The Cave Singers

King Creosote

Caribou

Magik Markers

School of Language

Devon Sproule

Alela Diane

Nina Nastasia

Jennifer Gentle

The Accidental

The Drift Collective

Cath and Phil Tyler

The Moon Music Orchestra

One More Grain

The Yellow Moon Band

Duke Garwood

Threatmantics

Mugstar

Radio Luxemburg

Cymbiant

Beth Jeans Houghton

Brygyn

Very Special Guests (Sunday headline)

Coldplay Go Spanish In Naming Fourth Album

Uncut
-
0
Coldplay Go Spanish In Naming Fourth Album
Coldplay have confirmed that their new album is to be named 'Vida la Vida' -- after the inscription meaning long live life that frontman Chris Martin saw on a Frida Kahlo painting. The band's follow-up album to 2005's 'X&Y' has been completed and will be released on June 16. Speaking to Rollin...

Coldplay have confirmed that their new album is to be named ‘Vida la Vida’ — after the inscription meaning long live life that frontman Chris Martin saw on a Frida Kahlo painting.

The band’s follow-up album to 2005’s ‘X&Y’ has been completed and will be released on June 16.

Speaking to Rolling Stone magazine, Martin explains that the Mexican artist’s painting was inspiring. He said: “She went through a lot of shit, of course, and then she started a big painting in her house that said ‘Viva la Vida’. I just loved the boldness of it.”

Martin also admits that other connations are apparant with his choice of title, especially that of Ricky Martin’s Living La Vida Loca global hit . He said: “Everyone thinks it comes from Ricky Martin, which is fine. I have absolute respect. I’ve been through this before, naming something or someone and everyone saying that ‘That’s a terrible name’.”

Adding: “But then saying, ‘Well, fuck you, that’s what it’s called, and I’ll be proved to be right eventually’. So when ‘Viva la Vida’ came along, I was kind of annoyed because I’m going to have to try and convince everybody of this, but it just felt right.”

The tracklisting for the album is yet to be confirmed, but Rolling Stone reports that two tracks that could be included are ‘Lovers In Japan’ and ‘Strawberry Swing’.

First headliner for Latitude Festival is revealed!

Uncut
-
0

The first headline act set to play this year's Latitude Festival at Henham Park, Suffolk has been revealed. The Scottish rockers fronted by Alex Kapranos will take over the main stage with a mixture of familiar Top five hits such as "Take Me Out" and "Do You Want To" as well as new material from their forthcoming third album. This headline slot is the Franz Ferdinand's first big UK since playing a sold-out four night run at London's Alexandra Palace at the end of 2005. Of course, Latitude is not just about music, but will also be putting on the best in comedy, films, books, theatre, poetry and cabaret over the three days. More details about who else will be headlining and what else will be occuring in Southwold this July will be unveiled with the BIG LAUNCH ANNOUNCEMENT which takes place this evening in central London. Tune back in to www.uncut.co.uk from 7pm tonight (March 19) when we will have all the details about who will play and how you can get a ticket. More information about location, tickets etc will be available from the official Latitude website from tonight too: www.latitudefestival.co.uk Latitude Festival takes place from July 17 - 20.

The first headline act set to play this year’s Latitude Festival at Henham Park, Suffolk has been revealed.

Continue

Franz Ferdinand To Headline Latitude Festival

Uncut
-
0
Franz Ferdinand To Headline Latitude Festival
Franz Ferdinand have been revealed as the first headline act set to play this year's Latitude Festival at Henham Park, Suffolk. The Scottish rockers fronted by Alex Kapranos will take over the main stage with a mixture of familiar Top five hits such as "Take Me Out" and "Do You Want To" as well as ...

Franz Ferdinand have been revealed as the first headline act set to play this year’s Latitude Festival at Henham Park, Suffolk.

The Scottish rockers fronted by Alex Kapranos will take over the main stage with a mixture of familiar Top five hits such as “Take Me Out” and “Do You Want To” as well as new material from their forthcoming third album, which they are currently recording in Glasgow.

This headline slot is Franz Ferdinand’s first big UK gig since playing a sold-out four night run at London’s Alexandra Palace at the end of 2005 and headlining the Carling Weekend in the Summer of 2006 — and will be their only UK festival appearance in 2008.

Of course, Latitude is not just about music, but will also be putting on the best in comedy, films, books, theatre, poetry and cabaret over the three days.

More details about who else will be headlining and what else will be occuring in Southwold this July will be unveiled with the BIG LAUNCH ANNOUNCEMENT which takes place this evening in central London.

Tune back in to www.uncut.co.uk from 7pm tonight (March 19) when we will have all the details about who will play and how you can get a ticket.

More information about location, tickets etc will be available from the official Latitude website from tonight too: www.latitudefestival.co.uk

Latitude Festival takes place from July 17 – 20.

Verve To Headline Eden Sessions

Uncut
-
0
Verve To Headline Eden Sessions
The Verve have been confirmed to headline a mammo6th outdoor show at Cornwall's Eden Project Sessions series on June 27. They are the first band to be announced to play this year's seventh annual Eden Sessions at the iconic Biomes in Cornwall. The band's reputation for explosive live shows marks ...

The Verve have been confirmed to headline a mammo6th outdoor show at Cornwall’s Eden Project Sessions series on June 27.

They are the first band to be announced to play this year’s seventh annual Eden Sessions at the iconic Biomes in Cornwall.

The band’s reputation for explosive live shows marks the return of rockier, guitar-based music that the Eden Sessions were renowned for.

Peter Hampel, Eden’s Creative Director, said “This is arguably the biggest coup yet for the Sessions and marks a welcome return to our heartland of great guitar bands. The Verve will kick the season off in spectacular style, and with other top names in the pipeline it really looks set to be one of our best ever.”

Previous Eden Sessions have seen performances from Muse and former Beach Boy Brian Wilson.

Tickets for The Verve’s Eden gig will go on sale at 6.30pm on March 27 and will be available through: www.edenbookings.com

Pic credit: Dean Chalkley

Watch Portishead’s New Video Now

Uncut
-
0
Watch Portishead’s New Video Now
Portishead's new video for comeback single 'Machine Gun' has appeared online. The video for the first new track from the band's new album 'Third' went live on the band's website portishead.co.uk at 8pm last night (March 18). The single, the first to be taken from Portishead's first new studio albu...

Portishead‘s new video for comeback single ‘Machine Gun’ has appeared online.

The video for the first new track from the band’s new album ‘Third’ went live on the band’s website portishead.co.uk at 8pm last night (March 18).

The single, the first to be taken from Portishead’s first new studio album in eleven years, can also be downloaded from the site.

The single is to released physically on vinyl and CD on April 14.

For more details about the release of ‘Third’, the full tracklisting and the band’s forthcoming European tour dates: Click here.

Mudhoney To Reissue Classic Debut For 20th Anniversary

Uncut
-
0
Mudhoney To Reissue Classic Debut For 20th Anniversary
Mudhoney are to reissue their classic 1988 debut E.P. 'Superfuzz Bigmuff' as a deluxe edition as part of their 20th anniversary celebrations. The remastered and expanded version of Superfuzz Bigmuff will accompany the band's brand new studio album 'The Lucky Ones', their eighth for longterm label S...

Mudhoney are to reissue their classic 1988 debut E.P. ‘Superfuzz Bigmuff’ as a deluxe edition as part of their 20th anniversary celebrations.

The remastered and expanded version of Superfuzz Bigmuff will accompany the band’s brand new studio album ‘The Lucky Ones’, their eighth for longterm label Sub Pop — who are also celebrating 20 years of releasing music.

The label, having failed to convince the band that the deluxe edition should be named “Superduperfuzz Biggermuff”, are releasing the EP on May 19 along with the new 11 track album, which was recorded in an efficient three and a half days.

The original Superfuzz EP features the classics “Touch Me I’m Sick” and “Mudride”. The expanded deluxe edition will also include singles, demos and two live recordings from 1988, all re-mastered, and some mastered for the very first time.

Mudhoney are to play just one show in the UK in 2008 — headlining London’s Forum on July 31.

Latitude Festival 1st Announcement Is Today!

Uncut
-
0
This year's Latitude Festival is nearly ready to launch -- with the first headliner being announced exclusively on Uncut.co.uk at 12noon today (March 19)! The acclaimed award-winning festival, now in it's third year is set to run from July 17 - 20, at Henham Park Estate in Southwold, Suffolk. Th...

This year’s Latitude Festival is nearly ready to launch — with the first headliner being announced exclusively on Uncut.co.uk at 12noon today (March 19)!

Continue

Latitude Festival Headline Announcement Today!

Uncut
-
0
Latitude Festival Headline Announcement Today!

This year's Latitude Festival is nearly ready to launch -- with the first headliner being announced exclusively on Uncut.co.uk at 12noon today (March 19)!. The acclaimed award-winning festival, now in it's third year is set to run from July 17 - 20, at Henham Park Estate in Southwold, Suffolk. The BIG Latitude Festival announcement is due to take place at 7pm tonight -- The rest of the headline acts are to be revealed and tickets will go onsale! 5000 early bird tickets which went on sale at the end of 2007 sold out within a few weeks, so better be quick. Latitude was launched in 2006 as an alternative to mainstream rock festivals like Glastonbury and Reading and its remit embraced not just music but also the best in comedy, films, books, theatre, poetry and cabaret. Last year's festival was headlined by Arcade Fire, Damon Albarn’s The Good, The Bad and the Queen and Damien Rice and also featured stunning performances from Wilco, Hold Steady, Tinariwen, Jarvis Cocker and Rodrigo Y Gabriela and band's for the 2008 next bash will be announced in due course. Promoters Festival Republic promise an even-more stellar line-up in 2008, building on the success of the festival’s first two years, with a huge range of activities and brilliant music across the event’s multiple arenas. Festival Republic have also announced plans for a week of Latitude-related performances at London’s ICA in June, in addition to a Longing For Latitude tour in the run-up to the festival. More information about location, tickets etc are available from the official Latitude website here: www.latitudefestival.co.uk Pic credit: Andy Willsher

This year’s Latitude Festival is nearly ready to launch — with the first headliner being announced exclusively on Uncut.co.uk at 12noon today (March 19)!.

The acclaimed award-winning festival, now in it’s third year is set to run from July 17 – 20, at Henham Park Estate in Southwold, Suffolk.

The BIG Latitude Festival announcement is due to take place at 7pm tonight — The rest of the headline acts are to be revealed and tickets will go onsale!

5000 early bird tickets which went on sale at the end of 2007 sold out within a few weeks, so better be quick.

Latitude was launched in 2006 as an alternative to mainstream rock festivals like Glastonbury and Reading and its remit embraced not just music but also the best in comedy, films, books, theatre, poetry and cabaret.

Last year’s festival was headlined by Arcade Fire, Damon Albarn’s The Good, The Bad and the Queen and Damien Rice and also featured stunning performances from Wilco, Hold Steady,

Tinariwen, Jarvis Cocker and Rodrigo Y Gabriela and band’s for the 2008 next bash will be announced in due course.

Promoters Festival Republic promise an even-more stellar line-up in 2008, building on the success of the festival’s first two years, with a huge range of activities and brilliant music across the event’s multiple arenas.

Festival Republic have also announced plans for a week of Latitude-related performances at London’s ICA in June, in addition to a Longing For Latitude tour in the run-up to the festival.

More information about location, tickets etc are available from the official Latitude website here: www.latitudefestival.co.uk

Pic credit: Andy Willsher

1...902903904...1,269Page 903 of 1,269

SHOP UNCUT