Features

A week of revelations here, I suppose, since a bunch of albums that I’ve had to strategically redact from recent lists, until they’re formally announced, can now be identified and previewed. Please note, then, the appearance of new albums by Damon Albarn, Elbow and Real Estate among the 20-odd things below. The Real Estate is especially fantastic – more like Felt and The Feelies than ever, maybe – and I’ll try and write something more extensive about it in the next week or so.

I interviewed T Bone Burnett as part of a piece on Inside Llewyn Davis, the new Coen Brothers film, which ran in the issue of Uncut on sale in December. What was originally meant to be a brisk 10 minute chat about working with the Coens and the film's soundtrack evolved into a much longer conversation, the bulk of which, inevitably, I couldn't work into the feature. So I thought I'd post it here for anyone interested in reading T Bone's thoughts on the evolution of folk music, the music he was listening to when he was growing up, and of course his experiences working with the Coens. Other topics under discussion included the American Civil War, George Clooney and Bob Dylan...

The Led Zeppelin legend has just returned with a new group, Minibus Pimps, in collaboration with Deathprod, aka Norwegian Helge Sten. Here, from Uncut’s April 2010 issue (Take 155), is a look back at the bassist and multi-instrumentalist’s other jobs… Fans and famous admirers ask Jones about his favourite instruments, bluegrass, working with REM, the Butthole Surfers and Josh Homme, and being “a bloody good choirmaster”. Interview: John Lewis ___________________

Quickly today, as there’s an issue to be flung together, but a plug in passing for our latest Ultimate Music Guide, on sale today and dedicated to Lou Reed. More on that later.

Sometimes, with Bill Callahan, the focus on his records is so unwaveringly on his lyrics, it is tempting to treat them as recited poetry rather than actual music. On an old Smog record like “The Doctor Came At Dawn”, say, the music seems barely there; just a little shading to point up the melodic undertow of a baritone that often wanders closer to speech than song.