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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David Bowie’s return to active service with The Next Day has been described as the greatest comeback ever and I’m sure every Bowie fan is hoping this will in fact be the truth of the matter when they finally get to hear the album, which is released on March 11, still a tantalising couple of weeks away at the time of writing.

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I’ve been meaning to write about this for a week or so now, but pesky deadlines for next month’s issue of Uncut kept getting in the way. Anyway, here’s some thoughts on the trailer for the new Coen brothers film, Inside Llewyn Davis.

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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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In his memoir, Prince Among Stones: That Business With The Rolling Stones And Other Adventures, which I’ve just reviewed for the next Uncut, Prince Rupert Loewenstein, who was the band’s financial adviser for nearly 40 years, reflects at one point about how time as he gets older has started, as they say, to fly. Thinking about this, he is reminded of a famous quote by the grand old thespian, John Gielgud, who wryly remarked that in his old age time had started to speed by at such a pace that it seemed like breakfast was being served every 10 minutes.

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It’s an odd week to release a film, I guess, as no one’s entirely paying attention. The usual brouhaha surrounding this coming Sunday’s Oscars ceremony has been chewing up a lot of film content in magazines and on websites, while elsewhere the internet seems preoccupied with Star Wars spin-offs, Star Trek and Sin City posters and whether or not Sam Mendes will direct the next Bond film.

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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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