Mick Jagger and Jerry Lee Lewis pictured together at Sun Studios

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Mick Jagger and Jerry Lee Lewis were photographed together at Sun Studios in Memphis yesterday (September 13).

Jagger tweeted a second picture of himself stood beneath Sun’s famous neon sign, but didn’t mention if he was there to record or simply as a visitor.

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One Jagger collaboration to definitely happen is his guest spot with Buddy Guy on the latter’s cover of “Doo Doo Doo Doo Doo (Heartbreaker)”. It appears on an album called Chicago Plays The Stones – released today – which features Chicago blues musicians covering Rolling Stones songs. Keith Richards also features, guesting with Jimmy Burns on a version of “Beast Of Burden”. Read more about the album here.

The October 2018 issue of Uncut is now on sale in the UK – with Jimi Hendrix on the cover. Elsewhere in the issue, you’ll find exclusive features on Spiritualized, Aretha Franklin, Richard Thompson, Soft Cell, Pink Floyd, Candi Staton, Garcia Peoples, Beach Boys, Mudhoney, Big Red Machine and many more. Our free CD showcases 15 tracks of this month’s best new music, including Beak>, Low, Christine And The Queens, Marissa Nadler and Eric Bachman.

McCartney on Lennon: “He was a very warm guy actually”

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Paul McCartney is the subject of NME’s latest Big Read, giving a wide-ranging interview in which he discusses Trump, social media and the “schoolboy stuff” of his new single “Fuh You”.

He also takes the opportunity to address a couple of myths surrounding The Beatles that have built up over the years. Talking about writing with John Lennon, he insists that their working relationship rarely became caustic or bitter.

“Working with John was great,” he says. “John definitely did have those withering putdowns, you know, but it was two percent of who he was and it’s the two percent people remember. Most of the time he was very generous, very loving, very easy to work with. But both of us had this sardonic streak that we could bring to each other’s things. I’m writing, ‘It’s getting better all the time’ and he chips in with, ‘Couldn’t get much worse’. And the song keeps moving ahead because of that. But he was a very warm guy actually, John. His reputation, cos of things like that, has gone a bit the other way.”

Rationalising The Beatles’ split, he says: “Brothers argue. Kids argue with their parents. And that’s sort of what we were doing – it was brothers arguing. At the time it was very sad. But I can look back on it and go, do you know what, even though it was really sad, and really crazy times, we made bloody good albums.”

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At his recent homecoming show at Liverpool’s Cavern Club – which you can watch footage of below – McCartney closed his set with “Helter Skelter”. He says its appropriation by Charles Manson “put me off doing it forever… it would have seemed like I was, either I didn’t care about all the carnage that had gone on or whatever, so I kept away from it for a long time. But then in the end I thought, you know, that’d be good on stage, that’d be a nice one to do, so we brought it out of the bag and tried it and it works. It’s a good one to rock with, you know.”

Does he go along with the idea that “Helter Skelter” is the first heavy metal song? “No! I’ve never claimed it, you know. People said it, but, if you think about it, it was near the start of heavy metal, and it was us trying to be heavy. I’d heard Pete Townshend saying they’d done the dirtiest, filthiest record ever, so we were trying to out-filth The Who. So if that communicated itself, there might have been some little guy living up in Rotherham thinking, Aye, we’ll have a group, we’ll just do that.”

Read the full NME interview with Paul McCartney here. You can also read a review of his Cavern show in the current issue of Uncut, on sale now.

The October 2018 issue of Uncut is now on sale in the UK – with Jimi Hendrix on the cover. Elsewhere in the issue, you’ll find exclusive features on Spiritualized, Aretha Franklin, Richard Thompson, Soft Cell, Pink Floyd, Candi Staton, Garcia Peoples, Beach Boys, Mudhoney, Big Red Machine and many more. Our free CD showcases 15 tracks of this month’s best new music, including Beak>, Low, Christine And The Queens, Marissa Nadler and Eric Bachman.

Jim James announces new acoustic album, Uniform Clarity

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My Morning Jacket’s Jim James has announced the release of Uniform Clarity – a companion piece to his recently released solo album Uniform Distortion, featuring acoustic renditions of the same songs.

Hear two songs from it, “You Get To Rome” and “Over And Over” below:

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“The idea for Uniform Clarity came from Uniform Distortion,” explains James, “an album of intentional chaos/dirt: literal and figurative distortion of lyrics and sound meant to echo and hopefully shed some light on the twisted times and distortion of the truth in which we now live. Uniform Clarity is meant to illuminate the other side – raw and real, but very clear, much like in the early days of recording where all you could hear was the truth because there were no ways to manipulate recordings in the studio. Working with Shawn Everett, we created a document-style recording of these songs – just vocals, guitar and the space itself – no special FX. A crystal clear illustration of the flawed beauty of what a song starts off as or sometimes remains – a thought, a seed, a light from the womb of the universe brought to life down here on earth.”

Uniform Clarity is out October 5 via ATO. Pre-order it here.

The October 2018 issue of Uncut is now on sale in the UK – with Jimi Hendrix on the cover. Elsewhere in the issue, you’ll find exclusive features on Spiritualized, Aretha Franklin, Richard Thompson, Soft Cell, Pink Floyd, Candi Staton, Garcia Peoples, Beach Boys, Mudhoney, Big Red Machine and many more. Our free CD showcases 15 tracks of this month’s best new music, including Beak>, Low, Christine And The Queens, Marissa Nadler and Eric Bachman.

Hear Smashing Pumpkins’ new single, “Silvery Sometimes (Ghosts)”

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Smashing Pumpkins have revealed full details of their comeback album featuring three-quarters of the original line-up.

Shiny And Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun
will be released by Billy Corgan’s own Martha’s Music label on November 16.

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Hear the new single “Silvery Sometimes (Ghosts)” below:

The eight-song album was produced by Rick Rubin at his Shangri La Studios in Malibu. Check out the tracklisting below:

1. “Knights of Malta”
2. “Silvery Sometimes (Ghosts)”
3. “Travels”
4. “Solara”
5. “Alienation”
6. “Marchin’ On”
7. “With Sympathy”
8. “Seek and You Shall Destroy”

The October 2018 issue of Uncut is now on sale in the UK – with Jimi Hendrix on the cover. Elsewhere in the issue, you’ll find exclusive features on Spiritualized, Aretha Franklin, Richard Thompson, Soft Cell, Pink Floyd, Candi Staton, Garcia Peoples, Beach Boys, Mudhoney, Big Red Machine and many more. Our free CD showcases 15 tracks of this month’s best new music, including Beak>, Low, Christine And The Queens, Marissa Nadler and Eric Bachman.

Massive Attack announce Mezzanine: Special Edition

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Massive Attack will release a new Special Edition of their 1998 album Mezzanine in November.

The 3xLP coloured vinyl version includes a remastered version of the album, along with a number of previously unheard Mad Professor dub mixes.

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It comes in a heat-sensitive box, including a book featuring exclusive images by Robert Del Naja and Nick Knight. Mezzanine: Special Edition will also be released in 2xCD form in November, with the vinyl box set to follow in December.

Pre-order it here and check out the tracklisting below:

A1 Angel (2018 Remaster)
A2 Risingson (2018 Remaster)
A3 Teardrop (2018 Remaster)
B1 Inertia Creeps (2018 Remaster)
B2 Exchange (2018 Remaster)
B3 Dissolved Girl (2018 Remaster)
C1 Man Next Door (2018 Remaster)
C2 Black Milk (2018 Remaster)
C3 Mezzanine (2018 Remaster)
D1 Group Four (2018 Remaster)
D2 (Exchange) (2018 Remaster)
E1 Metal Banshee (Mad Professor Mix One)
E2 Angel (Angel Dust)
E3 Teardrop (Mazaruni Dub One)
E4 Inertia Creeps (Floating On Dubwise)
F1 Risingson (Setting Sun Dub Two)
F2 Exchange (Mountain Steppers Dub)
F3 Wire (Leaping Dub)
F4 Group Four (Security Forces Dub)

The October 2018 issue of Uncut is now on sale in the UK – with Jimi Hendrix on the cover. Elsewhere in the issue, you’ll find exclusive features on Spiritualized, Aretha Franklin, Richard Thompson, Soft Cell, Pink Floyd, Candi Staton, Garcia Peoples, Beach Boys, Mudhoney, Big Red Machine and many more. Our free CD showcases 15 tracks of this month’s best new music, including Beak>, Low, Christine And The Queens, Marissa Nadler and Eric Bachman.

Tomberlin – At Weddings

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The idea of music as salvation or at least a balm for distressed souls is a popular one, usually applied to the listener, rather then the maker. As is that of music as a refuge – but few mean it quite as literally as Louisville-based singer-songwriter Sarah Beth Tomberlin, who’s described her debut LP as “a kind of shelter”, built through a survivalist instinct as protection from the extreme isolation she feared at one point might “very much” kill her.

As autobiographical narratives of 23-year-old newcomers go, Tomberlin’s is a compelling one, a gift for experiential rubbernecks and emotional voyeurs that makes for slightly uncomfortable retelling, not due to the details themselves, but because poring over the life experiences of (especially) young women as if that’s the most they could have to offer creatively has become a widespread bad habit. Bottom-line decency is an issue here, but more crucial is the question of whether or not the author’s experiences constitute their work’s core in any direct, relational sense. And that’s an obvious affirmative in this case – so much so, that these 10 songs aren’t so much “about” the questioning of faith, identity and life purpose that pitched Tomberlin into despair, as leakages of her self through the walls of that defensive structure.

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At Weddings is hermetic in the manner of Bon Iver’s For Emma, Forever Ago and equally measured, sincere and vulnerable, although that’s where the similarities end: it was recorded and produced by Owen Pallett, who also plays guitar and analogue synth and sings backing vocals, and its foundation isn’t folk but the hymns Tomberlin sang in church growing up. Hardly surprising, since listening to secular music was forbidden to the Jacksonville-born daughter of a Baptist pastor, who was home-schooled and then attended a private Christian college she’s described as a “cult”. Sneaked, non-religious listening was to Bright Eyes and Dashboard Confessional via her cousin’s iTunes library, while later on, Arcade Fire’s Neon Bible made a big impact. Seven of the tracks were written when Tomberlin went back to live with her family in rural Illinois after dropping out of college at 17. Able to play guitar and piano by ear from a young age, she’d always written songs, but it was the sweet “Tornado”, with the buzz of an overhead chopper as its intro, pellucid keys and a striking image of its creator as “a tornado with big green eyes” that she chose to share first, edging her out of that debilitating loneliness.

Selected by Mirah (Yom Tov Zeitlyn) as part of Joyful Noise’s White Label series and first released in a limited edition last October, the LP has had three new songs added for its Saddle Creek issue. Two of them are among the set’s strongest: on the country-toned “I’m Not Scared”, Tomberlin’s ringing, soft-grey tone and mouth-against-the-mic intimacy convey blunt personal truths – “I look for redemption in everybody else, but funny thing is that I always hated church… and to be a woman is to be in pain…” – while “Seventeen”, which features braided vocal harmonies, guitar twangling and the faintest echo of Fleetwood Mac’s “Landslide” is her poppiest expression, although it’s kept in check by a challenging “only love the people who don’t love you back/What is up with that?”. Of the earlier songs, “Self-Help” and “Untitled 2” shine particularly bright: on the former, the play of rhythmic and melodic guitar lines is pitched into a gently shrieking storm of Wurlitzer keys that swells over her vocal, which includes the odd line, “but you know I’m not your napkin” (a misheard lyric from an Alex G song). And the phone-recorded “Untitled 2”, with its aquatic ambience, subtle static crackling and ghostly murmuring, implies Grouper as kindred spirits.

The intimate, home-recorded sound and open nature of Tomberlin’s lyrics might suggest the structure she built with At Weddings is a fragile one, but that’s not the case. Whatever its emotional well-spring, her expression is clear, purposeful and strong in its directness and blessed with enough sly wit and wry self-awareness to deliver a line like “I used the self-help book to kill a fly/I think it worked Mom/I think I’m fine” (from “Self-Help”). That in many ways Tomberlin has already lost control of these songs, she readily acknowledges. “I’m happy to share my experience,” she says. “I am a pretty transparent person. The only strange aspect is that people can now share their hot takes on my personal experience.”

The October 2018 issue of Uncut is now on sale in the UK – with Jimi Hendrix on the cover. Elsewhere in the issue, you’ll find exclusive features on Spiritualized, Aretha Franklin, Richard Thompson, Soft Cell, Pink Floyd, Candi Staton, Garcia Peoples, Beach Boys, Mudhoney, Big Red Machine and many more. Our free CD showcases 15 tracks of this month’s best new music, including Beak>, Low, Christine And The Queens, Marissa Nadler and Eric Bachman.

Jimi Hendrix’s Electric Ladyland gets 50th anniversary reissue

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To celebrate its 50th anniversary, Jimi Hendrix’s landmark Electric Ladyland album is being reissued as a deluxe box set.

The set – which you can pre-order by clicking here – includes a new 5.1 surround sound mix by Eddie Kramer, 24 bit/96 kz high resolution stereo audio, an expanded ‘making of’ documentary, previously unreleased demos and alternate takes, an unreleased live album, plus a book containing handwritten lyrics and unseen photos.

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Available on November 9 as either a 3xCD/1 Blu-ray set or a 6xLP/1 Blu-ray set, both packages include the original double album, now newly remastered by Bernie Grundman from the original analogue tapes; Electric Ladyland: The Early Takes, which presents demos and studio outtakes from this period in Hendrix’s career; and The Jimi Hendrix Experience: Live At the Hollywood Bowl 9/14/68, part of Experience Hendrix’s Dagger Records official bootleg series. The Blu-ray also includes the feature-length documentary At Last… The Beginning: The Making of Electric Ladyland.

This 50th anniversary edition features new cover art – a Linda (McCartney) Eastman photograph of the band and children at the statue of Alice In Wonderland in New York’s Central Park, which was Hendrix’s own choice of imagery for the album’s cover.

You can read much more about the making of Electric Ladyland in the current issue of Uncut, on sale now.

Peruse the Electric Ladyland Deluxe Edition tracklisting below:

Electric Ladyland – original album remixed by Eddie Kramer and remastered by Bernie Grundman

Side A
1) … And the Gods Made Love
2) Have You Ever Been (To Electric Ladyland)
3) Crosstown Traffic
4) Voodoo Chile

Side B
1) Little Miss Strange
2) Long Hot Summer Night
3) Come On (Part I)
4) Gypsy Eyes
5) Burning of the Midnight Lamp

Side C
1) Rainy Day, Dream Away
2) 1983….(A Merman I Should Turn To Be)
3) Moon, Turn the Tides….Gently Gently Away

Side D
1) Still Raining, Still Dreaming
2) House Burning Down
3) All Along the Watchtower
4) Voodoo Child (Slight Return)

At Last…The Beginning: The Making of Electric Ladyland: The Early Takes

Side A
1) 1983…(A Merman I Should Turn To Be)
2) Voodoo Chile
3) Cherokee Mist
4) Hear My Train A Comin’

Side B
1) Angel
2) Gypsy Eyes
3) Somewhere
4) Long Hot Summer Night [Demo 1]
5) Long Hot Summer Night [Demo 3]
6) Long Hot Summer Night [Demo 4]
7) Snowballs At My Window
8) My Friend

Side C
1) At Last…The Beginning
2) Angel Caterina (1983)
3) Little Miss Strange
4) Long Hot Summer Night [Take 1]
5) Long Hot Summer Night [Take 14]

Side D
1) Rainy Day, Dream Away
2) Rainy Day Shuffle
3) 1983…(A Merman I Should Turn To Be)

Jimi Hendrix Experience: Live At The Hollywood Bowl Sept. 14, 1968 (Dagger Records)

Side A
1) Introduction
2) Are You Experienced
3) Voodoo Child (Slight Return)

Side B
1) Red House
2) Foxey Lady
3) Fire

Side C
1) Hey Joe
2) Sunshine of Your Love
3) I Won’t Live Today

Side D
1) Little Wing
2) Star Spangled Banner
3) Purple Haze

At Last… The Beginning: The Making of Electric Ladyland documentary (Blu-ray)

Uncompressed LPCM Stereo 24b/96k
Uncompressed LPCM 5.1 Surround 24b/96k
DTS-HD Master Audio 5.1 Surround 24b/96k

The October 2018 issue of Uncut is now on sale in the UK – with Jimi Hendrix on the cover. Elsewhere in the issue, you’ll find exclusive features on Spiritualized, Aretha Franklin, Richard Thompson, Soft Cell, Pink Floyd, Candi Staton, Garcia Peoples, Beach Boys, Mudhoney, Big Red Machine and many more. Our free CD showcases 15 tracks of this month’s best new music, including Beak>, Low, Christine And The Queens, Marissa Nadler and Eric Bachman.

Watch a trailer for a new Jack White documentary

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A new Jack White documentary, Kneeling At The Anthem DC, will be released via Amazon Music and Amazon Prime Video on Friday September 21.

Directed by Emmett Malloy, who previously helmed The White Stripes’ 2009 documentary Under Great White Northern Lights, it centres around a live performance at The Anthem in Washington DC on May 30 this year. Kneeling At The Anthem DC also features footage of White and his band exploring the city and giving a surprise performance for students at Woodrow Wilson High School.

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Watch a trailer for the Kneeling At The Anthem DC below.

In addition, a six-song live EP culled from the same show will also be released on September 21 on Amazon Music, featuring the following tracks:

Corporation (Live)
Over and Over and Over (Live)
Blunderbuss (Live)
Ice Station Zebra (Live)
Connected By Love (Live)
Icky Thump (Live)

The October 2018 issue of Uncut is now on sale in the UK – with Jimi Hendrix on the cover. Elsewhere in the issue, you’ll find exclusive features on Spiritualized, Aretha Franklin, Richard Thompson, Soft Cell, Pink Floyd, Candi Staton, Garcia Peoples, Beach Boys, Mudhoney, Big Red Machine and many more. Our free CD showcases 15 tracks of this month’s best new music, including Beak>, Low, Christine And The Queens, Marissa Nadler and Eric Bachman.

Introducing Deep Purple: The Ultimate Music Guide

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As Deep Purple geared up for their Long Goodbye Tour in early 2017, Ian Paice had a few thoughts on the band’s long and storied history. “The records will remain, or they won’t,” he told Uncut. “But it’s about how you affect people around you. The people we’ve inspired to pick up a guitar, get a drum kit or a microphone. That’s the best legacy.” Meanwhile, his bandmate Ian Gillan had this to say about the bands most enduring qualities: “The primary driving force of it all was the sheer abandoned joy of making music together. And that has stayed with us.”

As you might have gathered by now, Deep Purple are the subject of our latest Ultimate Music Guide – a celebration of 50 years in rock, no less, with new writing on each of their albums and a series of classic archive features, many unseen since original publication. There are digressions into Rainbow, an invaluable miscellany and… the Deep Purple family Venn diagram!

The issue goes on sale Thursday, September 13 – and you can order a copy now from our online store.

And here’s an excerpt from Ian Paice’s exclusive introduction to our Guide to further whet your appetites…

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“Nobody expected Deep Purple to be here fifty years on, still having fun doing something that people want to see and listen to. That’s an amazing thing. I don’t think any one of us gave the anniversary a conscious thought. It’s been there so long – it’s what you are and what you do.

“The moments of inception have been the fondest memories. Once I’d got the job in ’68, that was amazing, balanced by the feeling of absolute desolation when the band destroyed itself. Any band that’s been around for any duration has had a rocky road. You’re asking four or five totally different characters to deal with each other in a very high-pressure situation, over a long period of time. Like a marriage, it doesn’t always run smooth. When you’re going around the world, you’re all you’ve got. The fact that you are under this compressed social circle means that occasionally it does get volatile.”

Order the latest issue of Uncut online and have it sent to your home – with no delivery charge!

The October 2018 issue of Uncut is now on sale in the UK – with Jimi Hendrix on the cover. Elsewhere in the issue, you’ll find exclusive features on Spiritualized, Aretha Franklin, Richard Thompson, Soft Cell, Pink Floyd, Candi Staton, Garcia Peoples, Beach Boys, Mudhoney, Big Red Machine and many more. Our free CD showcases 15 tracks of this month’s best new music, including Beak>, Low, Christine And The Queens, Marissa Nadler and Eric Bachman.

Watch Moses Sumney’s new live video for “Rank & File”

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Moses Sumney has created a new video for his song “Rank & File”, from the recently released Black In Deep Red, 2014 EP.

It features Sumney performing the song solo, in one take, complete with looped vocals and body percussion. Watch it below:

Order the latest issue of Uncut online and have it sent to your home – with no delivery charge!

Sumney tours the UK next week – see his full itinerary below. A limited run of flexidiscs for “Rank & File” will be available for attendees of his show at London’s Royal Festival Hall on September 21.

9/19 – Manchester, UK @ The Dancehouse Theatre
9/20 – Leeds, UK @ Howard Assembly Room
9/21 – London, UK @ Royal Festival Hall

9/23 – Berlin, Germany @ Funkhaus
9/25 – Goningen, Netherlands @ Nieuwe Kerk
9/26 – Amsterdam, Netherlands @ Paradiso
9/28 – Brussels, Belgium @ Botanique Orangerie
10/9 – Tokyo, JP @ WWW X
10/13 – Oakland, CA @ Treasure Island Music Festival
10/14 – Austin, TX @ ACL Music Festival

The October 2018 issue of Uncut is now on sale in the UK – with Jimi Hendrix on the cover. Elsewhere in the issue, you’ll find exclusive features on Spiritualized, Aretha Franklin, Richard Thompson, Soft Cell, Pink Floyd, Candi Staton, Garcia Peoples, Beach Boys, Mudhoney, Big Red Machine and many more. Our free CD showcases 15 tracks of this month’s best new music, including Beak>, Low, Christine And The Queens, Marissa Nadler and Eric Bachman.

The Fiery Furnaces – Blueberry Boat

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Matthew Friedberger still recalls Rough Trade sending out The Fiery Furnaces’ second LP to DJs for feedback. “I remember getting the reports,” he says. “The nicest thing anyone said was ‘We can’t use this…’” No wonder, perhaps: Blueberry Boat can’t be understood with a cursory listen. Without some immersion its labyrinthine story-songs can sound annoying, pretentious and throwaway all at the same time. Even its two creators, Matthew and Eleanor Friedberger, seem to disagree on how much of it was written before entering the studio. Take some time, though, and this LP reveals itself to be a singular work – in 2018, too, it makes even more sense.

Much of the negative reaction in 2004 was likely down to expectations: the Furnaces’ debut album, 2003’s Gallowbird’s Bark, was a snappy set of bluesy, quirky garage-rock made by two siblings from the northern US: not a hard sell with The White Stripes’ Elephant setting the zeitgeist that spring. But a 76-minute follow-up of ever-changing, multi-part rock operas, dosed with barroom piano, nautical themes and synth burbles, wasn’t the done thing in the ‘New Rock Revolution’ scene – bands generally changed slowly, or not at all.

The seeds of Blueberry Boat are there in Gallowsbird’s Bark, though: Matthew’s woozy slide, the acidic synths on “Leaky Tunnel” and the references to travel in the lyrics of “Inca Rag” and elsewhere. Following recording of Gallowsbird’s, but before its release, Matthew took over the songwriting completely. Returning to Brooklyn’s Rare Book Room for a month, the pair mixed ProTools and tape, now common, but a brave experiment in 2003.

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The songs they put down there were unusual, to say the least: wordy and playful, with cut-up, seemingly unrelated sections stitched together and linked by recurring musical themes played on all manner of buzzing synths (including an Italian Gem and a Roland Juno), pianos and distorted guitar. “Chris Michaels” begins triumphantly like The Who – the band’s primary influence – but soon spirals off into quieter, weirder reveries, with the siblings swapping cryptic lines: “Then Tony of the Franklin Park hockey club/Went to Gunzo’s and bought a goalie glove/Jessica was posed to meet him back in Mannheim/Kitchen back door by all the grease and grime…” In all, there are enough ideas in these eight minutes for seven or eight separate songs.

Mutated piano ballad “Mason City”, based on a book, Shake Out, by the pair’s father, agricultural historian Mark Friedberger, tells the story of Iowa farm families forced from their properties in the ’80s, while “Chief Inspector Blancheflower” is part Bildungsroman, part melodrama, involving a cop who originally aspired to be a typewriter mender – naturally, this is recounted over warped disco, ending with a comedic, jagged guitar solo.

Perhaps the most ambitious cut is the title track: a story-song involving a ship’s captain from Grand Rapids transporting blueberries to the Far East, only to encounter brutal pirates. If there’s any thread that ties these 13 songs together, it’s this nautical bent, which links the title track, “Quay Cur”, “Spaniolated” (in which the narrator is kidnapped on a Seville-bound boat) and “Turning Round”, with Eleanor’s lines on dreaming “of the waves and your sails turning round”.

Despite her step back from songwriting, Eleanor is crucial to Blueberry Boat. The codebook for her brother’s ciphers, her declamatory voice adds gravitas to “Straight Street”, a joyful nonsense travelogue that would seem ridiculous sung by most. “So I went to Georgia looking at spas and convents,” Eleanor sings over discordant piano and guitar that recalls The VU’s “White Light/White Heat” left out in the sun. “Tried to make myself the broker for selling off the contents…”

Doggerel or not, genre-jumping and conceptual, collaged narratives feel more accepted in 2018 – see Janelle Monáe, Animal Collective, Fleet Foxes and even Arcade Fire – which suggests Blueberry Boat would have sparked less confusion if released today. Even so, the album’s primary creator probably wouldn’t have had it any other way. “I played ‘1917’ to Emily Scholnick, who painted the cover,” says Matthew. “She said, ‘You ruined that song… I like music. What is that supposed to be?!’ She was joking, but she was also meaning it. And I remember being so… happy, to get a reaction out of her, even though it wasn’t particularly positive.”

The Fiery Furnaces went on to make more accomplished albums – 2006’s psychedelic Bitter Tea, say, or 2007’s heavier Widow City – and have since developed two very different solo careers, but they’ve never matched the innocence and wild inspiration of this playful monster. Absurd, in the best possible sense.

The October 2018 issue of Uncut is now on sale in the UK – with Jimi Hendrix on the cover. Elsewhere in the issue, you’ll find exclusive features on Spiritualized, Aretha Franklin, Richard Thompson, Soft Cell, Pink Floyd, Candi Staton, Garcia Peoples, Beach Boys, Mudhoney, Big Red Machine and many more. Our free CD showcases 15 tracks of this month’s best new music, including Beak>, Low, Christine And The Queens, Marissa Nadler and Eric Bachman.

Hear Sonic Boom remix Beach House’s “Black Car”

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Today, Beach House shared a Pete Kember AKA Sonic Boom remix of “Black Car” from their recent album 7, which was co-produced by Kember. Hear it below:

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Kember has also made a video for the track “Drunk In LA”. Watch that below:

In a press release, Beach House explained how the video came about: “While mixing the record with Alan Moulder in London, we were out having dinner and Pete mentioned an idea for a video where the viewer is always looking up from the ground. When he sent it to us, we complimented and commented on the trippy, dreamlike nature of the video and he wrote that it was essentially just a day in his life.

“We have never had a remix, but we thought it would be cool if Pete did one. We really like the one he did for ‘Black Car’ because it feels like a different song, focused largely on voice and arpeggio. It feels like a poem this way, and the minimal treatment highlights the lonesome quality of the song. Hope you enjoy! Much Love.”

Beach House tour the UK next month (dates below). Two of the shows are already sold out but you can still buy tickets for the first London Troxy show here:

Wednesday 17th October – LONDON – Troxy tickets
Thursday 18th October – LONDON – Troxy (SOLD–OUT)
Friday 19th October – MANCHESTER – Albert Hall (SOLD–OUT)

The October 2018 issue of Uncut is now on sale in the UK – with Jimi Hendrix on the cover. Elsewhere in the issue, you’ll find exclusive features on Spiritualized, Aretha Franklin, Richard Thompson, Soft Cell, Pink Floyd, Candi Staton, Garcia Peoples, Beach Boys, Mudhoney, Big Red Machine and many more. Our free CD showcases 15 tracks of this month’s best new music, including Beak>, Low, Christine And The Queens, Marissa Nadler and Eric Bachman.

Pretty Things – S.F. Sorrow: 50th Anniversary Vinyl Box Set Edition

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By the time the Pretty Things psychedelic rock opera S.F. Sorrow limped its way into the new release racks in December 1968, the Small Faces Ogden’s Nut Gone Flake – also featuring a lengthy parable about a boy obsessed with the moon – had been gently blowing the minds of flipped-out mods for six months.
 By the time S.F. Sorrow was picked up by Motown’s rock subsidiary Rare Earth and released in the United States, complete with ludicrous tombstone-shaped sleeve, the Pretty Things were being mocked for having ripped off The Who’s 1969 magnum opus Tommy, which also features a wronged man’s quest for spiritual enlightenment.
 Rolling Stone’s Lester Bangs shredded the Pretty Things’ labour of love memorably. “One looked forward to this one because they are a thrillingly ragged blues band with none of the usual snobbery,” he wrote in early 1970. “What a surprise, then, to find an ultra-pretentious concept album, complete with strained ‘story’ (a man’s life from rural birth to prodigal’s Oliver Twist freakout), like some grossly puerile cross between the Bee Gees, Tommy, and the Moody Blues.”


Too much too late, S.F. Sorrow might have been more than a quintessential period piece had circumstances been more favourable. The Pretty Things started recording their fourth album in late 1967, and had they not been compelled to hack it together in fits and starts, snatching time in EMI’s Abbey Road studio in-between club dates and money-spinning library music work, it could have been a contender. As it is, this eight-disc, 50th-anniversary vinyl collection – featuring mono and stereo mixes, a 1998 live set and copies of the Pretty Things four contemporary singles – is the final word on the most thrilling near miss of a career strewn with wrong turns. 
The first of those was arguably guitarist Dick Taylor’s decision to leave one Sidcup Art College band, the Rolling Stones, to join Phil May in another.

The singer’s shoulder-length hair and the snarling delivery of 1964 hits “Rosalyn” and “Honey I Need” earned the Pretty Things a certain Neanderthal kudos in British R&B circles, but underwhelming LPs and eccentric management calls (they were sent to break Australia and New Zealand rather than America in 1965) kept them firmly underground.
Having composed proto-rave epic “Midnight To Six Man” and provocatively titled 1966 B-side “£. S. D.”, the art-school boppers looked well placed to flourish in more far-out times, but started the thousand-trip summer of 1967 acceding to Fontana’s demand to swamp their third album, Emotions, with queasy orchestral arrangements in order to run out their contract.

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Released that April, it sounds like an out-of-whack melding of Ray Davies from the Kinks and Ray Davies and the Button-Down Brass. 
More ambitious plans were brewing, though. Disappointed to discover that the Beatles’ Sergeant Pepper wasn’t actually a story in song, bassist Wally Waller urged his bandmates to make an album that genuinely was. May provided the narrative based on the story of a disaffected World War I soldier, and with Parlophone offering studio time and the services of Piper At The Gates Of Dawn producer Norman Smith, S.F. Sorrow was (slowly) born.
HG Wells steam punk with a heavy slab of Mervyn Peake gothic thrown in, the album follows moonstruck Sebastian F Sorrow from cradle to decrepitude. Morphing from factory fodder into cannon fodder, Sorrow survives the Great War only to experience more grief as his childhood sweetheart dies in an airship disaster. Offered redemption by the charismatic Baron Saturday, Sorrow goes on a metaphysical voyage of discovery only to find that his misery is infinite and that there is no hope of salvation. Later critics would ask – not without good reason – whether S.F. Sorrow’s poor sales were down to it being something of a bummer.


However, if the heaviness was a buzz-kill in 1968, it is integral to S.F. Sorrow’s abiding appeal. While other British psychedelic records tend towards the fey and the foppish, there is no Alice-In-Wonderland wibbling here. S.F. Sorrow takes itself ludicrously seriously, but it’s melange of slate-grey proto-metal and vogueish flashes of backward guitar, sitar, mellotron and studio whizz-bangery make it sound – at its best – like the Nuggets compilation album remixed by Jackson Pollock.
There are shades of the Pretty Things’ R&B past on the album’s leathery love theme “She Says Good Morning”, Taylor’s jagged twin-guitar line slicing through what sounds like a hastily butchered take on the Beatles’ “Taxman”, while “Baron Saturday” has a similar mod-friendly crunch, stabs of mellotron updating its silhouette for less sartorially rigid times.
However, both sound tame compared to the melodramatic “Balloon Burning”, Taylor accompanying S.F. Sorrow’s own Hindenburg Disaster with a fuzzed-out guitar solo cribbed from the Are You Experienced? songbook. “Old Man Going” is an even more metallic KO, stand-in drummer Twink hammering out a rhythm amid a cacophony of air-raid siren noise, the Pretty Things discordantly shrill backing vocals prefiguring the angsty wailing of Deep Purple’s “Child In Time”.


For all that, S.F. Sorrow does not utterly lack a gentle touch. “Private Sorrow” – a martial trudge with ominous recorder accompaniment – mirrors some of the jazz-folk meanderings of Traffic and Family’s Music In A Doll’s House. May’s lyrics border on the hysterical throughout, but his lysergic Wilfred Owen schtick bites hard: “Heaven’s rain falls upon faces of the children who look skyward, twisting metal through the air, scars and screams, so you might know His fury.”


“Death” has a similar elfin gloominess (as well as a stately solo on a sitar allegedly furtively borrowed from George Harrison) while the Pretty Things essay something like West Coast mellow on “The Journey”, though their taste for shrill, Greek chorus style harmony vocals and blitzkrieg percussion ensure it has a brutal heft too. 
The jingle-jangle mourning of “Trust”, meanwhile, features subtly-deployed pub piano, and carefully buried doo-wop chorus, its despair at a world where “minds are grey” marking a staging post between the impotent little-Englander fury of the Kinks and the more animated first-shaking of the mid-70s Pink Floyd.


Had everything gone well, that’s a little corner of pop history that the Pretty Things might have made their own. As it was, they were fated to a career of what-ifs. The first signings to Led Zeppelin’s Swansong label, David Bowie covered two of their songs on his Pin-Ups collection, but the Pretty Things never made a major commercial breakthrough, or another record as dense or extreme as S.F. Sorrow. All the effort that went into it may have ruined its commercial prospects, but makes it a riveting curio. Still very much in a time and space of its own.

EXTRAS: No previously unreleased material, but plenty of fun oddities, including notes from May, Taylor, Waller and keyboard player Jon Povey. A 1998 live version of the album – featuring Dave Gilmour and god of hellfire Arthur Brown – makes its vinyl debut, while the two non-album singles as compelling as S.F. Sorrow itself. November 1967’s creepy pop operetta “Defecting Grey” – about a ‘straight’ man mooning over a potential gay lover on a park bench, according to May – is Keith West’s “Excerpt From A Teenage Opera” gone rogue, while the woozy “Talking About The Good Times”, which followed three months later, is the Dave Clark Five melted like a Salvador Dali clock.

Q&A
PHIL MAY



What were you doing at the start of 1967?
We were trying to finish Emotions and Fontana were really fucking about with it. We could have dug our heels in but we would have had to stay and finish it. They stuck brass all over it. We just cut and run because the idea for S.F. Sorrow was germinating and we had no illusion that we would be able to make it for Fontana.

Pink Floyd producer Norman Smith was very important in creating S.F. Sorrow, yes?
When our manager Bryan Morrison heard some of the demos – things like “Defecting Grey” – he said: “I told you if you kept smoking that fucking stuff you’d go divvy.” Norman got it straight away. We didn’t sign to EMI: we signed to Abbey Road and Norman. We felt Abbey Road was the only place we’d have a chance to stretch and experiment. With Norman, every time you gave him a challenge he was up for it.

S.F. Sorrow took a long time to make: why was that?
EMI gave us a paltry £2,500 signing on fee and we owed £3,000 in debt, so we were £500 down when we started the record. That meant we had to work all the way through it – we’d do five or six days in the studio and then we’d have to go to Germany to do a festival, or Switzerland or Sweden. But that was a good thing because things had time to evolve. It was like having a plant that got bigger and bigger and went different ways to what you expected.

What was the basis for the S.F. Sorrow story?
I’d written this story called Sergeant Sorrow and it was the maquette for the whole thing. It’s sort of semi-autobiographical: a lot of it was my experience even if I’m projecting myself into a situation and wondering how I would react. We started out with the cradle-to-almost grave scenario because most classical records are like that, and Shakespeare and Dickens. It was storyline driven, lyrically driven and musically driven, so it had three powers dragging the engine down the track. Some things would just come of a riff Dick had, some things would come off a lyric line that somebody came and put some music to, so it was very exciting times.



Is S.F. Sorrow a ‘drug’ record?
I don’t think I could have written it without taking acid. I was very lucky: I had quite a few trips – 12, 15, 20 – and I never had a bad one. Drugs were very much part of my life. I started out on Purple Hearts and once you took to many of them to work you moved on to something else.
I’ve always said that there’s a lot of R&B in Sorrow too. We hadn’t kicked our roots completely. It was in our palette. The purists said we did thrash R&B. Our mates wanted to dance they didn’t want to smooch. It was to do with the speed as well – everything got a bit more frantic.

The release of the record was a bit of an anti-climax. True?
We had this reading where Norman read the story and we played it to a whole bunch of suits in the boardroom and it was very obvious what the thing was about. The very next morning we got this phone call from the accountant saying: ‘To actually print the story on this album, is it important? Because it’s going to cost another £780 [to print a gatefold sleeve].’ And I said: ‘We played it to you. Of course, it’s important.’ So he said: ‘Well you’ll have to pay for that out of your royalties.’ So almost before it came out we knew we were fucked.
For some reason Tamla Motown insisted that EMI gave them the Pretty Things in the US. They were doing this crossover label, Rare Earth, and they had so many fuck-ups with the launch that SF Sorrow came out in the States a year later, after Tommy, and got slaughtered. If we hadn’t been half way into Parachute, I might have cut my throat and given up! 


You never broke America in the 1960s: why not?
Bryan Morrison turned down Dick Clark; the guy who brought the Beatles over really wanted us but Bryan said: ‘Fuck off, not enough money – we’re going to New Zealand.’ If we had gone to America and had enormous success I don’t know whether [sybaritic drummer] Viv Prince and I would have been able to survive it. Too much fun.

You couldn’t play SF Sorrow live at the time? 
Oh god no. There were so many things on it: flutes, horns, a penny whistle I think. Each person played about four instruments on every song. We did a mime of it at the Roundhouse! Gala [Mitchell – Ossie Clark model and Taylor’s girlfriend] played S.F. Sorrow’s mum, Twink played S.F. Sorrow. Everybody had parts. I read the story from a dais. We were all flying. People remember it. I don’t. It was talked about. Very bizarre.

Is S.F. Sorrow your Jackson Pollock masterpiece?

I’ve always been a figurative painter so it would be more like a Francis Bacon – he was my favourite. I can enjoy it but I can also see where it could have been better. Nothing’s perfect, but because of the recording situation in those days, there are limits. I think this is possibly when we were pushing the envelope the most, when we were right out there, and possibly it was a year too early for everyone but us.

INTERVIEW: JIM WIRTH

The October 2018 issue of Uncut is now on sale in the UK – with Jimi Hendrix on the cover. Elsewhere in the issue, you’ll find exclusive features on Spiritualized, Aretha Franklin, Richard Thompson, Soft Cell, Pink Floyd, Candi Staton, Garcia Peoples, Beach Boys, Mudhoney, Big Red Machine and many more. Our free CD showcases 15 tracks of this month’s best new music, including Beak>, Low, Christine And The Queens, Marissa Nadler and Eric Bachman.

The 30th Uncut new music playlist of 2018

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Continuing on from last week’s playlist, there’s a lot of ambient, experimental drones here – courtesy William Basinski and Lawrence English, Janek Schaefer and Joseph Shabason – alongside Mercury Rev’s tremendous Harmony Rockets project and other fine new music from David Crosby, Kurt Vile and Phosphorescent.

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1.
WILLIAM BASINSKI & LAWRENCE ENGLISH

“Selva Oscura [Edit]”
(Temporary Residence Ltd)

2.
JANEK SCHAEFER

“What Light There Is Tells Us Nothing [For Robert Wyatt]”
(Temporary Residence Ltd)

3.
KELLY MORAN

“Helix [Edit]”
(Warp)

4.
CLARK

“Piano E.C.S.T”
(Warp)

5.
JOSEPH SHABASON

“Forest Run”
(Western Vinyl)

6.
HARMONY ROCKETS WITH PETER WALKER

“Atropos”
(Tompkins Square)

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7.
DAVID CROSBY

“Glory”
(BMG)

8.
KURT VILE

“Bassackwards”
(Matador)

9.
PHOSPHORESCENT

“Christmas Down Under”
(Dead Oceans)

10.
VERA SOLA

“The Colony”
(Spectragraphic Records)

11.
ANA DA SILVA & PHEW

“Dark But Bright”
(shouting out loud!)

12.
BAXTER DURY, ETIENNE DE CRÉCY & DELILAH HOLLIDAY

“White Coats”
(Heavenly Records)

The October 2018 issue of Uncut is now on sale in the UK – with Jimi Hendrix on the cover. Elsewhere in the issue, you’ll find exclusive features on Spiritualized, Aretha Franklin, Richard Thompson, Soft Cell, Pink Floyd, Candi Staton, Garcia Peoples, Beach Boys, Mudhoney, Big Red Machine and many more. Our free CD showcases 15 tracks of this month’s best new music, including Beak>, Low, Christine And The Queens, Marissa Nadler and Eric Bachman.

Hear David Crosby’s new single, “Glory”

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David Crosby has announced that his new album Here If You Listen will be released on October 26.

The album is a collaborative effort, with three of the musicians/singers who contributed to his 2016 album Lighthouse and its subsequent tour – Michael League of Snarky Puppy, Michelle Willis and Becca Stevens – billed under Crosby’s name on the sleeve.

“If leaving a group like Crosby, Stills & Nash was like jumping off a cliff, then finding the Lighthouse Band was like growing wings halfway down,” says Crosby. “These three people are so startlingly talented, I literally couldn’t resist making this album with them.”

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Listen to the first single, “Glory”, below:

https://soundcloud.com/bmg-bf/sets/david-crosby-glory-from-the/s-GCMKg

David Crosby & Friends play two shows in the UK this weekend, tickets available here:

Saturday 15th September 2018 – Palace Theatre, Manchester
Sunday 16th September 2018 – O2 Shepherds Bush, London

You can read an interview with David Crosby in the next issue of Uncut, in shops on Thursday September 20.

The October 2018 issue of Uncut is now on sale in the UK – with Jimi Hendrix on the cover. Elsewhere in the issue, you’ll find exclusive features on Spiritualized, Aretha Franklin, Richard Thompson, Soft Cell, Pink Floyd, Candi Staton, Garcia Peoples, Beach Boys, Mudhoney, Big Red Machine and many more. Our free CD showcases 15 tracks of this month’s best new music, including Beak>, Low, Christine And The Queens, Marissa Nadler and Eric Bachman.

Kurt Vile announces new album, Bottle It In

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Kurt Vile will release his new album Bottle It In on October 12 via Matador.

Hear “Bassackwards”, the next single to be taken from it, below:

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Bottle It In was recorded across a number of sessions, helmed by producers including Rob Schnapf, Shawn Everett and Peter Katis. Musical guests include Cass McCombs, Mary Lattimore and Stella Mozgawa of Warpaint.

Kurt Vile & The Violators embark on a world tour in October, full dates below:

10/12 – Hamburg, Germany – Grünspan ^
10/13 – Gothenburg, Sweden – Pustervik ^
10/14 – Oslo, Norway – Rockefeller #
10/15 – Stockholm, Sweden – Bern #
10/16 – Copenhagen, Denmark – Vega #
10/18 – Berlin, Germany – Huxleys #
10/19 – Munich, Germany – Muffathalle #
10/20 – Zurich, Switzerland – X-Tra #
10/21 – Lyon, France – Epicerie Moderne #
10/22 – Barcelona, Spain – Apolo #
10/23 – Madrid, Spain – Teatro Barceló #
10/25 – Lisbon, Spain – Lisboa Ao Vivo #
10/26 – Porto, Portugal – Hard Club #
10/27 – Bilbao, Spain – BIME Festival #
10/28 – Bordeaux, France – Theatre Barbey #
10/29 – Paris, France – La Cigale #
10/30 – Brussels, Belgium – Autumn Falls @ AB #
11/1 – Amsterdam, Netherlands – Paradiso #
11/2 – Köln, Germany – Kantine #
11/3 – Groningen, Netherlands – Take Root Festival
11/5 – Brighton, UK – Concorde 2 #
11/6 – London, UK – Shepherd’s Bush Empire #
11/7 – London, UK – Shepherd’s Bush Empire #
11/8 – Bristol, UK – St Philips Gate #
11/9 – Birmingham, UK – The Crossing #
11/10 – Manchester, UK – Albert Hall #
11/11 – Leeds, UK – 02 Academy #
11/13 – Glasgow, UK – 02 ABC #
11/14 – Dublin, Ireland – Vicar Street #
11/15 – Belfast, UK – The Limelight #

11/24 – Boston, MA – House of Blues *
11/28 – Brooklyn, NY – Brooklyn Steel *
11/30 – Washington, DC – 9:30 Club *
12/3 – Atlanta, GA – Variety Playhouse *
12/5 – Oklahoma City, OK – Jones Assembly *
12/6 – Austin, TX – ACL Live at The Moody Theater *
12/7 – Dallas, TX – Canton Hall *
12/9 – San Diego, CA – The Observatory North Park *
12/11 – Los Angeles, CA – The Wiltern *
12/12 – Oakland, CA – Fox Theatre *
12/14 – Portland, OR – Crystal Ballroom *
12/15 – Seattle, WA – Moore Theatre *
12/16 – Vancouver, BC – Commodore Ballroom *
12/19 – Minneapolis, MN – First Avenue *
12/20 – Madison, WI – Sylvee *
12/21 – Milwaukee, WI – Turner Hall *
12/22 – Chicago, IL – Riviera Theatre *
4/18-20 – Tyagarah, Australia – Byron Bay Bluesfest

^ denotes w/ Meg Baird (solo)
# denotes w/ Meg Baird & Mary Lattimore
* denotes w/ Jessica Pratt

The October 2018 issue of Uncut is now on sale in the UK – with Jimi Hendrix on the cover. Elsewhere in the issue, you’ll find exclusive features on Spiritualized, Aretha Franklin, Richard Thompson, Soft Cell, Pink Floyd, Candi Staton, Garcia Peoples, Beach Boys, Mudhoney, Big Red Machine and many more. Our free CD showcases 15 tracks of this month’s best new music, including Beak>, Low, Christine And The Queens, Marissa Nadler and Eric Bachman.

Bauhaus to release first ever recording session

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To celebrate their 40th anniversary, Bauhaus are releasing their first ever recording session, dating from January 26, 1979.

The Bela Session EP will be released by Leaving Records on vinyl and digital formats on November 23. It includes the band’s classic debut single “Bela Lugosi’s Dead”, released here on vinyl for the first time in 30+ years.

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Three of the other tracks on the five-track EP are previously unreleased. View the full tracklisting below and pre-order the EP here:

1. “Bela Lugosi’s Dead” – 9:36
2. “Some Faces” – 2:29 – previously unreleased
3. “Bite My Hip”– 2:57 – previously unreleased yet later reworked, re-recorded, and released as “Lagartija Nick” in 1983
4. “Harry” – 2:56 – later released as a B-side in 1982
5. “Boys (Original)” – 3:03 – previously unreleased, later re-recorded and released as the B-side of “Bela Lugosi’s Dead”

Bauhaus frontman Peter Murphy is on tour this autumn under the banner ‘Peter Murphy celebrates 40 years of Bauhaus featuring David J’. Full tour dates below:

Oct. 18 – Wellington NZ @ San Fran
Oct 19 – Christchurch NZ @ Foundry
Oct 20 – Auckland NZ @ Powerstation
Oct 22 – Adelaide AU @ Governor Hindmarsh
Oct 25 – Brisbane AU @ The Zoo
Oct 26 – Melbourne AU @ Max Watts
Oct 27 – Sydney AU @ The Factory
Oct 28 – Perth AU @ The Capitol Theatre
Nov 6 – St Petersburg RS @ Aurora Hall
Nov 7 – Moscow RS @ Glavclub
Nov 9 – Belgrade RS @ Dom Omladine Beograda
Nov 10 – Frankfurt DE @ Das Bett
Nov 12 – Zurich CH @ Mascotte
Nov 14 – Paris FR @ Bataclan
Nov 18 – Madrid ES @ La Riviera
Nov 19 – Barcelona ES @ Razzmataz
Nov 21 – Rome IT @ Orion Live Club
Nov 22 – Milan IT @ Fabrique
Nov 23 – Munich DE @ Ampere
Nov 24 – Bochum DE @ Christuskirche
Nov 26 – Wroclaw POL @ A2
Nov 27 – Berlin DE @ Columbia Theater
Nov 28 – Hamburg DE @ Knust
Dec 2 – Northampton. UK @ Roadmender
Dec 4 – Manchester UK @ O2 Ritz
Dec 5 – Glasgow UK @ SWG3
Dec 6 – Northampton UK @ Roadmender
Dec 8 – Leeds UK @ Leeds Beckett SU
Dec 9 – London UK @ O2 Forum Kentish Town

Dec 11 – Copenhagen DK @ Store Vega
Dec 12 – Stockholm SW @ Nalen
Dec 14 – Athens GR @ Gazi Music Hall
Dec 15 – Thessaloniki GR @ Principal Club Theater

The October 2018 issue of Uncut is now on sale in the UK – with Jimi Hendrix on the cover. Elsewhere in the issue, you’ll find exclusive features on Spiritualized, Aretha Franklin, Richard Thompson, Soft Cell, Pink Floyd, Candi Staton, Garcia Peoples, Beach Boys, Mudhoney, Big Red Machine and many more. Our free CD showcases 15 tracks of this month’s best new music, including Beak>, Low, Christine And The Queens, Marissa Nadler and Eric Bachman.

Kate Bush announces lyric book, How To Be Invisible

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How To Be Invisible is a new book of Kate Bush’s selected lyrics, to be published by Faber on December 6.

The lyrics have been selected and arranged by Bush herself, with a foreword by the novelist David Mitchell.

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“For millions around the world, Kate is way more than another singer-songwriter,” says Mitchell. “She is a creator of musical companions that travel with you through life. One paradox about her is that while her lyrics are avowedly idiosyncratic, those same lyrics evoke emotions and sensations that feel universal.”

How To Be Invisible will be initially available in hardback and e-book formats, both priced £14.99. There is also an exclusive limited edition version which you can find more about by signing up here.

The October 2018 issue of Uncut is now on sale in the UK – with Jimi Hendrix on the cover. Elsewhere in the issue, you’ll find exclusive features on Spiritualized, Aretha Franklin, Richard Thompson, Soft Cell, Pink Floyd, Candi Staton, Garcia Peoples, Beach Boys, Mudhoney, Big Red Machine and many more. Our free CD showcases 15 tracks of this month’s best new music, including Beak>, Low, Christine And The Queens, Marissa Nadler and Eric Bachman.

Will Oldham to revisit back catalogue on new album

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Will Oldham has announced the release of a new album under his own name, coming via Domino on October 19.

Songs Of Love And Horror comprises stripped-down solo reworkings of songs previously issued under his Palace Brothers, Palace Music and Bonnie ‘Prince’ Billy monikers.

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The release of the album will accompanied by a book of the same name, published by WW Norton, compiling Oldham’s song lyrics from the last 25 years.

You can pre-order Songs Of Love And Horror (the album) here. Check out the album tracklisting below:

I See a Darkness
Ohio River Boat Song
So Far and Here We Are
The Way
Wai
The Glory Goes
Only Someone Running
Big Friday
Most People
Strange Affair
New Partner
Party With Marty (Abstract Blues)

The October 2018 issue of Uncut is now on sale in the UK – with Jimi Hendrix on the cover. Elsewhere in the issue, you’ll find exclusive features on Spiritualized, Aretha Franklin, Richard Thompson, Soft Cell, Pink Floyd, Candi Staton, Garcia Peoples, Beach Boys, Mudhoney, Big Red Machine and many more. Our free CD showcases 15 tracks of this month’s best new music, including Beak>, Low, Christine And The Queens, Marissa Nadler and Eric Bachman.

The Proposition soundtrack released on vinyl for the first time

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Nick Cave & Warren Ellis’s score for 2005 ‘Aussie Western’ The Proposition is to be released on vinyl for the first time on November 2.

John Hillcoat’s film marked Cave and Ellis’s first soundtrack collaboration; they’ve since gone on to score several other films, including The Assassination Of Jesse James By The Coward Robert Ford, Lawless, Hell Or High Water and Kings.

Order the latest issue of Uncut online and have it sent to your home – with no delivery charge!

Listen to “The Rider Song” below:

The Proposition OST will be reissued on gold vinyl in a gatefold sleeve. Pre-order it here.

The October 2018 issue of Uncut is now on sale in the UK – with Jimi Hendrix on the cover. Elsewhere in the issue, you’ll find exclusive features on Spiritualized, Aretha Franklin, Richard Thompson, Soft Cell, Pink Floyd, Candi Staton, Garcia Peoples, Beach Boys, Mudhoney, Big Red Machine and many more. Our free CD showcases 15 tracks of this month’s best new music, including Beak>, Low, Christine And The Queens, Marissa Nadler and Eric Bachman.