I suppose Alan Partridge is the, uh, albatross round Steve Coogan’s neck.

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The distraction of a Laura Marling blog yesterday has had the knock-on effect of making this week’s playlist longer than usual: 27 tracks/albums in all.

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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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Shameless plug coming your way! This Thursday, March 14, the next in our ongoing series of Ultimate Music Guides hits the shops. This one is dedicated to The Smiths.

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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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It’s a busy day in the Uncut office, but I’ve just time to post about the line-up that’s just been confirmed for this year’s Sundance London festival.

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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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The world and nearly everyone in it has been reduced to trembling excitement by the return of David Bowie, but for some of us there is another recent resurrection perhaps even more miraculous and just as unexpected, a comeback by The Replacements, who today release online the Songs For Slim EP, their first new recordings in more than 20 years.

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It’s possible to view the career of Sam Raimi as one might a musician of a certain stripe. The successful early indie releases, followed by uneven attempts to navigate the mainstream landscape; a dedicated fanbase for whom those formative cult projects are sacrosanct.

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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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