It’s easy – and probably useful, sometimes – to lambast major labels for what looks from the outside like chronic short-termism. The climate is, understandably I guess, a neurotic one, and those days are long gone when labels would work long-term with a select group of trophy artists, whose usefulness to the company was more silvery and nebulous, more about cachet than quick profit.


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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...


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Maybe not as much here as some weeks, thanks I guess to the Daft Punk loop that I’ve been playing for at least an hour a day. Try it…


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Swiftly this week, as I have a heap of proofs to read for the next Uncut Ultimate Music Guide (the subject this time is The Smiths and Morrissey, hence the appearance of “Hatful Of Hollow” below).


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A recording of Kraftwerk’s “Trans-Europe Express” night at the Tate Modern seems to have fallen off the back of the internet this morning: genuinely not sure where one of my colleagues found it, before you ask.


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Until very recently, any mention of Bell Laboratories in conjunction with electronic music would’ve made me think of Laurie Spiegel, who worked at Bell Labs research centre in New Jersey while she was creating much of her extraordinary cosmic music in the 1970s.


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Lots going on here, not least the fact that I have to write a long review of the mostly amazing Kraftwerk show that I saw next door at the Tate Modern the other night.


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An unintended consequence of the My Bloody Valentine release: plenty of plays this week for “Straight Outta Compton”, following directly after “m b v” in my iTunes library. As you can see, though, it’s been an amazing few days for new music, and consequently I’ve added plenty of links so you can hear Mikal Cronin, Library Of Sands (to recap: Naynay Shineywater from Brightblack Morning Light), Jennie O (produced by Jonathan Wilson), and Retribution Gospel Choir’s amazing “Seven” (featuring Nels Cline, and especially recommended to fans of “Psychedelic Pill”).


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Just before starting to write this morning, I spent a while digging around for the old office ghettoblaster, computer-connecting technology having failed us in our attempts to play a new EP that turned up yesterday in cassette form. The EP forms part of the capricious launch strategy of Library Of Sands, a new project from a mesa-dwelling outlier called Naynay Shineywater, who used to front Brightblack Morning Light.


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Last night, it was all about anticipation. First, the rumours started circulating that Michael Gove was implicated in some job-threatening scandal, only for those rumours to reach a resounding anti-climax, as The Observer’s story was revealed to be a little spat between a couple of hacks and some unsavoury Tory operatives.


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Editor's Letter

Inside the new Uncut...


Vile day here in London, improved to some degree I'd hope by the arrival in UK shops of the new edition of Uncut. It has Nick Drake on the cover, as you probably know if you're a subscriber and your copy arrived over the weekend.

It's the first time that Drake has appeared on our cover,...