To Dalston, and Barden’s Boudoir, where Sir Richard Bishop is brandishing a magic stick, with a feather on the end of it, that has been balanced precariously on Ben Chasny’s amp for the duration of Rangda’s show. As ever with Bishop, it’s hard to tell whether he’s drawing on or satirising a world of arcane knowledge. Powerful forces are undoubtedly at work here, but maybe that’s just down to the kinetic virtuosity of Bishop, Chasny and Chris Corsano.
Many years back -- the last century, in fact -- when we were putting UNCUT together, Allan and I drew up a list of canonical film makers whose work would become central to the magazine’s editorial remit. Our A list included Scorsese, Tarantino, Peckinpah, Coppola, Stone, Hill, Hawks, Ford, Eastwood, and so on.
In the intervening years, the list has pretty much stayed the same. With, arguably, one exception: Francis Ford Coppola.
One of my highlights at Club Uncut last year was an epic show by Philadelphia’s Kurt Vile, which spiralled off into some phenomenally unstructured solo reveries, during which Vile seemed to be carving an unusual and comparatively original new space for folkish singer-songwriters.
A good week for new arrivals, actually, though there is one record here that, somewhat unexpectedly, I never want to hear again. Hopefully you’ve got your hands on the new issue and the “Transition Transmission” CD; pretty nice one, I think.
Apologies that blogs were a bit thin on the ground last week: as I maybe mentioned, I got pretty caught up in collating your Great Lost Albums into a Top 50 to run in the issue out at the end of June. A surfeit of great stuff there, and I’ll post some of your suggestions that didn’t make the 50 here in a couple of weeks or so.
