Features

John Fogerty’s show supporting Bruce Springsteen at London's Hyde Park is reviewed in the new issue of Uncut, out now (dated September 2012). So, for this week’s archive feature, we delve back to March 2006 (Take 106), when the Creedence singer, guitarist and songwriter talked Uncut through all of his legendary band’s singles. Interview: Bud Scoppa __________________________

A few cool things to play and/or download on the playlist this week, kicking off with a couple of free new tunes from the characteristically profligate White Denim, which come highly recommended.

The shouts begin in earnest around the first encore – most of them are calls for specific songs, accompanied by a smattering of “We love you”s, but the one that raises the biggest cheer is simply: “Where have you been?”

“I find it faintly ridiculous that anyone would want to make a film about me,” says Luke Haines at the start of Niall McCann’s documentary, currently touring film festivals. Haines has spent much of his career as both a musician and, latterly, an author, raging splenetically and repeatedly against Britpop and those musicians he considers of lesser creative stature – which is most of them.

John Murry first entered Uncut airspace in 2006 with World Without End, the bleakly brilliant album of country death songs he wrote and recorded with Bob Frank. Six years on, Murry has just released his first solo album, The Graceless Age, an album of almost symphonic emotional turmoil, co-produced by late American Music Club drummer Tim Mooney. The songs on the record deal sometimes explicitly with Murry’s heroin addiction, specifically the 10-minute ‘Little Coloured Balloons’, a harrowing account of a near-fatal OD. I reviewed The Graceless Age for the current issue of Uncut and emailed Murry some questions, to which he replied in detail and at illuminating length, as you will see from the fascinating transcript that follows.

While I’ve been rather excitedly banging on this year about the return to active filmmaking of the class of 1990something – Wes Anderson, Paul Thomas Anderson, Whit Stillman, Todd Solondz – I should, in all fairness, spend a few moments on the new film by Rian Johnson, a veteran of the class of 2000something.

Wayne Coyne of The Flaming Lips answers your questions in An Audience With… in this month's new issue of Uncut, out now. In this week's archive feature we head back to our June 2008 issue (Take 133), to find the band's frontman looking back over their back catalogue, taking in Vaseline, drug addiction, union picket lines, the religious right and nothing short of the collapse of civilisation. “My agenda is to go somewhere where we’ve never been before…" Interview: Jaan Uhelszki –––––––––––––––––––––––––

I don’t have any more information on the new Bob Dylan album, Tempest, following last week’s newsletter and blog on Friday confirming the track listing, so apologies to all the readers who have written in, hungry for further details about the record. The absence of anything further I can tell you at the moment about Tempest gives me, however, the opportunity to briefly sing the praises of Lawless, the new movie from director John Hillcoat and Nick Cave, who’s written the screenplay, as he did for The Proposition, Hillcoat’s savage outback Western.

A distinct late ‘80s/early ‘90s feel to the list this week, with generally good new releases in here from Bob Mould, Mark Eitzel and Sebadoh. Couple of other things to flag up, though.

Been talking for a while now about how I think Six Organs Of Admittance’s “Ascent” is one of the best albums of 2012, and I’ve finally written about it at length in the new issue of Uncut. Anyhow, Ben Chasny responded to a bunch of questions I sent over with a characteristic diligence, and I figured it was worth posting the whole exchange here. Follow me on Twitter: www.twitter.com/JohnRMulvey