Pixies are back with new material and a world tour – but back in August 2006’s issue (Take 111), our forum of Uncut readers and famous fans were interrogating Frank Black about pissing off the band, his relationship with Kim Deal and why he went into therapy. Words: Nick Hasted
Roy Harper has recently returned with a raved-about new album, Man & Myth, and a UK tour, including a date at London’s prestigious Royal Festival Hall on October 22 – he’s arguably bigger than he has been since the mid-‘70s. Celebrating Harper’s 70th birthday back in July 2011 (Take 170), Uncut speaks to Roy about tales of escapes from psychiatric hospitals, tempestuous dealings with the music business, and the sinister connection between Tony Blair and Cliff… Words: Allan Jones
At 7pm on the first night of Atoms For Peace’s London residency, the Amok Drawing Room has already sold out of commemorative mugs. The Enterprise pub across the road from the Roundhouse has been rebranded in expressionist monochrome, and an upstairs room has been upholstered in Stanley Donwood wallpaper, the better to sell exquisite £500 prints, t-shirts screenprinted while-you-wait, and a pointedly apocalyptic jigsaw puzzle.
When unpleasant right-wing governments seize control by one means or another, a lot of wishful thinking often goes on among radical artists. Hard times, they speculate, will encourage a new counterculture; angry political art will flourish in the face of oppression. We heard a lot of this rhetoric from dissenters trying to put a positive gloss on the election of David Cameron in 2010. But as yet, a provocative cultural revolt against the Tories, if there is one, remains too underground to register on most radar.
Rather a long time after the event, I thought it worthwhile posting my live review of Kraftwerk at the Tate Modern (it was published in Uncut's print edition a couple of weeks ago). It was Trans Europe Express night, by the way...
The new Uncut, as discussed, is in the shops today with The Byrds on the cover, and a free CD of tracks inspired by that band. Woods are included on the comp, and their latest, “Bend Beyond”, is a record I’ve played a lot these past couple of months, but somehow neglected to write much about.
It's now seven years since Damage, the last Blues Explosion album, a hiatus during which Jon Spencer got to indulge his psychotic rockabilly side with three albums with Heavy Trash, and also pursue a few other alternative musical endeavours with the likes of Andre Williams, Solex and Cristina Martinez. It was also a period during which the original punk-blues pioneers saw their influence put to more remunerative use not just by The White Stripes but by The Black Keys as well, as stripped-back roots riffage unaccountably became one of rock's more commercially potent modes.
God knows we’ve probably written enough about “Tempest” by now (not least these two terrific pieces by my colleagues Allan Jones and John Robinson). Nevertheless, part of Bob Dylan’s enduring appeal is his capacity for provocation: the sense that he tacitly encourages people to at least try and unpick his records, fathom his mysteries. Our almost certain failure is part of the game, for him as well as for us.
