Features

In an archive piece taken from Uncut’s January 2005 issue (Take 92), we look back at Dylan in 1975, when he turned the crisis of a deteriorating relationship into one of rock’s most compelling dramas. This is the story of Blood On The Tracks, the album that marked the demise of Dylan’s marriage – and his artistic rebirth. Words: Nick Hasted

Yesterday I posted an interview here with Cian Nugent that prompted a Twitter conversation about other records which operate in the fairly narrow space between Television’s “Marquee Moon” and Fairport Convention’s “A Sailor’s Life”. This morning I’ve collated all the suggestions into a Youtube playlist, which should keep you elevated for an hour or two.

Cian Nugent & The Cosmos’ “Born With The Caul” is one of my favourite albums of the year, as I tried to explain as part of this blog from a month or so back. The album came out this week, anyhow, so I thought it was worth posting this Q&A with Cian here. Some really nice stuff on his influences, especially…

Apologies for the frustrating gaps that appear in this week’s playlist. A lot of 2014 releases arriving in the office now, some of which haven’t been officially announced. As a consequence I have to keep their identities suppressed for the time being; I’ll try and fill in the missing words once these albums are formally unveiled.

Last year, I interviewed the film director Peter Strickland about Berberian Sound Studio, his tribute to the Heath Robinson-style endeavours of analogue sound designers. Strickland and I chatted about the influences for his main character, a tweedy sound engineer called Gilderoy; Strickland mentioned pioneering figures like Adam Bohman, Vernon Elliott and Basil Kirchin.

With Hawkwind and Motörhead both touring the UK this month (November 2013), we take a look at the story of the only Top Three single ever recorded entirely on LSD. Lemmy, Dave Brock, Nik Turner and more tell the tale of “Silver Machine”: drugs, insanity and a “Chuck Berry riff played backwards”… From Uncut's September 2007 issue (Take 124). Interview: Paul Moody __________________

In haste again this week, but various delays in posting this have at least meant that the playlist has kept growing: 32 entries, with seven interesting things to listen to, including Neil Young and a couple of strong new artists, the pretty psych Morgan Delt and Matt Kivel, whose album reminds me a bit of the first one by Bon Iver.

There’s a scene in Cormac McCarthy's novel No Country For Old Men, where sheriff Ed Tom Bell and his deputy arrive at the site of a particularly grisly murder. “It’s a mess, ain’t it sheriff?” asks the deputy. Surveying the corpses and the wreck of a burned out SUV, Bell replies, “If it ain’t, it’ll do till a mess gets here.”

Celebrating anniversaries has, I guess, become second nature in the music industry now. A quick pass through the reviews pages in the last couple of issues of Uncut reveal anniversary reissues and special editions for Nirvana, Billy Bragg, Tears For Fears, R.E.M, Four Tet and Bob Marley.

A lot of things can happen when you watch The Necks, the magnificent Australian improvising trio, play live. Sometimes, you can become fixated on prosaic details: how does Tony Buck’s left hand keep vibrating that shaker onto his drumkit at such an ecstatic velocity for so long, for instance? Do they have hidden clocks that allow them to move so elegantly to a conclusion without appearing to even acknowledge each other’s presence, let alone look at one another? Will unzipping my coat be an unacceptably noisy intervention?