Features

One of those rushed weeks, I’m afraid – it looks like I won’t be able to construct a Wild Mercury Sound 2012 chart ‘til next week now, if you can bear the agonising wait. Lots of links and clips to be getting on with here, though: please make sure you have a listen to the new Sun Kil Moon and Plush tracks, and check the clip that Neil Young scholars are claiming shows the first time he’s collapsed onto the floor and wiggled his legs in the air mid-solo.

On my way home last week from The Rolling Stones at the O2, still a-buzz with excitement, I ended up chatting to a group of similarly exhilarated fans, who between them didn’t have enough fingers to count the number of Stones shows they’d been to, Brian Jones still a Stone the first time a couple of them had seen them.

As many of you will have seen by now, the current issue of Uncut features our Top 75 albums of 2012 and, as usual, there’s been a fair amount of comment online about the list. I’m going to try not to be too defensive about this, but as the person who compiled the list, I thought it might be useful to post a few notes that’ll hopefully clarify one or two issues that have been raised.

After all the hoo-ha, huff, hysteria and hot air, here, finally, are The Rolling Stones doing what they do even better than raising the collective temperature with impertinent ticket prices, something they seem to have been doing at least since their 1969 American tour, nothing new in the Stones being accused of commercial banditry and the cynical exploitation of their fans, on whose behalf so many complaints have been indignantly voiced since the 50 And Counting dates in London and New York were announced. Why don’t they celebrate their half-centenary with, say, a free concert, the cry went up in some quarters, and let more people have a chance to see them, and for nothing too? Well, when they tried that in 1969, look where it got them: Altamont.

You’ll hopefully have spotted Uncut’s Films Of The Year in our current issue. High up the Top 10 is the brilliant Berberian Sound Studio, director Peter Strickland’s spin on low-rent 70s Italian horror movies and a tribute to the Heath Robinson-style endeavours of foley artists and sound designers of a certain generation. Ahead of the film's imminent release of the film on DVD – and Broadcast’s score in the New Year – I caught up with Peter Strickland to chat about the film and his influences.