After living with the new Hot Chip album for the best part of a week, it feels like my thoughts about it are finally beginning to coalesce. They’re a curious band, I think: a consummate, bright pop band on the one hand; a group whose songs gradually insinuate themselves over time. What initially appears slight, eventually becomes unforgettable.
I've been gently kicking myself for the past few days after discovering The Necks were playing a couple of shows just down the road from me in Dalston. By the time I tried to get tickets on Sunday afternoon, they'd long sold out. Their new album, "Townsville", is compensation of a kind, but it also makes me regret missing them more than ever.
I've been keeping a list of the records we've played for the past couple of days. Kept away from American Music Club's "Golden Age" after some heavy rotation last week, and I'm contemplating having another go at its predecessor, "Lovesongs For Patriots", after some insinuated reprimands on the blog.
Here's Stephen Dalton's final report from this year's Vienna Film Festival...
Ah, Vienna. Welcome to Uncut’s final dispatch from this year’s extended Viennale, which finally closed on Friday with Vic Chesnutt howling grainy, ragged, alt-folk Americana to a packed house in the Austrian capital’s deluxe Gartenbau cinema. A splendidly soulful finale to Europe’s most elegant film festival.
Some interesting things turned up from you this week, not least a couple of impassioneddefences of the Robert Plant & Alison Krauss album, which seemed to be getting a rough ride from some unreconstructed old Led Zep fans.
Forgive me for recycling press releases, but there’s an interesting line in this one which accompanies the new album by American Music Club. “Dark music is for people who are healthy enough to take it,” it reads, “And AMC want to appeal to all people – including the sick.”
The new Cat Power album just arrived - or at least a stream of it arrived onto my computer - so that's playing as I write this morning. Sounds pretty good, with a remarkable version of "New York New York" to kick things off, but I'll blog about it properly in the next few days.
Such has been the drooling media focus on Kate Bush this week, it might be tough to imagine British music journalists listening to anything else these past few days. I'm not, in fairness, exempt from the hysteria: here's...