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Father John Misty announces new album Chloe And The Next 20th Century

Matt Doria
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Father John Misty announces new album Chloe And The Next 20th Century
Father John Misty has lifted the lid on his forthcoming fifth studio album, Chloe And The Next 20th Century, following a series of cryptic teasers he’d trickled out over the past few weeks. ORDER NOW: Paul Weller is on the cover in the latest issue of Uncut Unlike those teasers, however, ...

Father John Misty has lifted the lid on his forthcoming fifth studio album, Chloe And The Next 20th Century, following a series of cryptic teasers he’d trickled out over the past few weeks.

Unlike those teasers, however, the indie-rock stalwart (real name Josh Tillman) formally announced his next LP in a decidedly analogue format; his label, Bella Union, sent out a flexi-disc vinyl to a handful of fans on its mailing list. When recipients played the record, they were greeted by a spoken-word passage detailing Chloe And The Next 20th Century.

One fan who was sent the vinyl uploaded a video of themselves playing it to Reddit. Thanks to them, we know that Chloe And The Next 20th Century will land on April 8, 2022 via Sub Pop and Bella Union. It’ll be available physically on vinyl, CD and cassette, as well as “in [a] beautiful deluxe hardback edition with expanded artwork and much more”.

The suave, pitched-down voice (presumably Tillman’s) continued: “Is this real? It is. This is the album. You’re listening to it right now. That’s nice. 11 new tracks produced by Jonathan Wilson and Josh Tillman. Chloe And The Next 20th Century. It’s technically new.”

Check out the full video below:

Mysterious package received from Bella Union today, think you’ll be pleased! from fatherjohnmisty

Tillman last made waves in August of 2020 with the standalone tracks “To S.” and “To R.” (both of which came as part of the Sub Pop Singles Club). He’s kept relatively quiet since, bar his first few live shows since 2019 – a solo appearance at this year’s Sound Summit festival, then two back-to-back headliners on the Californian coast.

Tillman’s most recent full-length effort as Father John Misty was the 2018 album God’s Favourite Customer.

Later in the year, Tillman released a four-track EP titled Anthem + 3. Comprised of two Leonard Cohen covers, plus takes on Link Wray’s “Fallin’ Rain” and Yusuf’s “Trouble”, the EP served as another avenue for Tillman’s philanthropy; upon its initial release on his BandCamp page, the singer-songwriter funnelled its profits into charities CARE Action and Ground Game LA.

Between 2018 and 2020, Tillman debuted at least four unreleased songs during live sets. One, debuted in December of ’18, saw him repeating the phrase “all God’s Country” in the chorus. Another featured sax and synths, with Tillman singing over them: “I guess time just makes fools of us all.” Soon thereafter came his unused song from A Star Is Born and the soaring “Tell It Like It Is”.

Pretenders – Pretenders (Deluxe Edition) / Pretenders II (Deluxe Edition)

Laura Barton
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Pretenders – Pretenders (Deluxe Edition) / Pretenders II (Deluxe Edition)
In her 2015 memoir, Reckless, Chrissie Hynde described the pre-show ritual in the early days of her band, the Pretenders: the four of them, backstage, waiting, “like dogs at the gate”. As they took to the stage they would play Wagner’s “Ride Of The Valkyries”, then widely known for scoring...

In her 2015 memoir, Reckless, Chrissie Hynde described the pre-show ritual in the early days of her band, the Pretenders: the four of them, backstage, waiting, “like dogs at the gate”. As they took to the stage they would play Wagner’s “Ride Of The Valkyries”, then widely known for scoring a pivotal sequence in Apocalypse Now: the sound of helicopters, menace, pursuit. Among the young band members, Hynde said, it encouraged a feeling that they were all “chasing something”.

Listen to the Pretenders’ first two records today, over 40 years since their release, and that coursing urgency is still startling. There are the blazing singles, of course –the cover of The Kinks’ “Stop Your Sobbing” that kickstarted their career in 1979, the spiny guitar and plaintive vocal of “Kid”, the gummy, cocksure twang of “Brass In Pocket”. But these records, you are reminded, are entire bodies of work, rather than mere scaffolding for chart hits: the articulation of a lyrical and musical vision, the manifestation of months of hard work, rehearsing long hours, seven days a week.

As a result, the album tracks are just as striking as their more well-known compatriots; in fact, undimmed by years of radio play, they still hold an unexpected brightness. The intertwining of Hynde’s voice and James Honeyman-Scott’s distinctive “jingle-jangle” guitar (as Johnny Marr once described it) on “The English Roses” manages to sound both familiar and fresh; the prickling reggae, strange incantation and unexpected guitar burst of “Private Life” feels newly provocative.

The albums have been repackaged now, remixed by original producer Chris Thomas, and come accompanied by a clutch of demos, rarities and live performances, many of them previously unreleased; there are photographs and elegant liner notes. The whole shebang has been curated by Hynde herself.

It’s the live performances that prove most affecting, including BBC Sessions on the Kid Jensen show, live shows in Boston, London, Paris, New York and Santa Monica. Hynde is very much to the fore, the famed curl and punch of her voice, the sense of a great rock star apparent simply in her breath and moan and exhalation. But behind her, the weltering force of the band – Martin Chambers’ cantering drums on “Bad Boys Get Spanked” in Santa Monica in 1981, or the musical muscularity and sinewy backing vocals of “Mystery Achievement”, played for a BBC session in 1979, serves as a reminder that the Pretenders began very much as a band, as four young musicians, flung into the wilds of success by a No 1 album.

That period in the Pretenders’ history, that defining lineup, would be short-lived. After these two albums (and an intervening EP), Honeyman-Scott, whose melodic guitar lines so complemented Hynde’s rhythm guitar playing, and who so shaped the sound of the band, died of cardiac arrest caused by cocaine intolerance in 1982. The following year, bassist Pete Farndon overdosed on heroin and drowned in his bathtub.

Revisiting these two records, and their accompaniments, reminds us just how extraordinary this moment was, and what a role the Pretenders played in transforming popular music as the decade tipped into the 1980s: a band sprung from the punk scene of the late ’70s who covered The Kinks, the Kingsmen’s “Louie Louie”, Jackie Wilson’s “Higher And Higher”, but who brought us a vision of what was to come: an uncompromising female lead singer, writing about sex workers, spankers, adulterers, who embraced pop and helped usher in the new era of MTV. Few bands felt so new; few bands had such persuasive momentum.

When Hynde once described the aimlessness of her teenage years in Akron, Ohio, high school, art school, the time she spent travelling, and the early days in London – writing for the NME, working at Malcom McLaren and Vivienne Westwood’s clothing shop SEX, dabbling in punk, eventually forming her own band, with her own songs, she distilled the essence of her approach to life and creativity: “I thought if I kept not doing what I didn’t want to do, I would naturally get closer to what I did want.” Much of the force and allure of Pretenders songs lies precisely in that space, in Hynde’s remarkable ability to articulate and conjure that sensation: the feeling of getting closer to what you want.

There would be wilder success to come after these first two albums, a career that would span four decades, platinum sales, Grammys, the Rock’n’Roll Hall Of Fame. But at this point in the life of the Pretenders, we can hear a band for whom that sensation was arguably at its loudest, its most insistent: the sound of dogs at the gate, chasing something, getting closer.

Air – 10 000 Hz Legend

Tom Pinnock
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Air – 10 000 Hz Legend
Suddenly everyone had somewhere else to be – at least, that’s how Air remember the playback of their second album to Virgin’s UK executives. “After about 10 minutes, they were like, ‘Oh, we have a meeting we can’t postpone,’” says Nicolas Godin. “They were in panic. It was a big di...

Suddenly everyone had somewhere else to be – at least, that’s how Air remember the playback of their second album to Virgin’s UK executives. “After about 10 minutes, they were like, ‘Oh, we have a meeting we can’t postpone,’” says Nicolas Godin. “They were in panic. It was a big disaster for them… they were expecting Moon Safari 2.”

Godin and Jean-Benoît Dunckel weren’t displeased by the reception. Their debut LP had been everywhere in 1998 and ’99 – from primetime radio to dinner parties – and they were keen to shatter preconceptions and prove what else they could do. It seems they succeeded: it’s tough to imagine them making a more alienating album than 10 000 Hz Legend, resolutely earworm-free and impossible to pin down.

Some of it is intensely serious, such as the eerie closer, “Caramel Prisoner”; some almost throwaway, like first single “Radio #1”, its Berlin Bowie strut complete with a fake DJ chipping in at the end. Other moments are just plain bizarre – the ridiculous “Wonder Milky Bitch”, a mutant take on Nancy & Lee. Almost every song is disjointed, full of separate sections with shifting tempos and arrangements: “Don’t Be Light” moves from bouncing electronics to sci-fi strings within its first five seconds. Elsewhere, harsh synths collide with acoustic guitars, rasping Vocoders butt against sublime untreated vocals, and glitching drum machines spar with lush orchestras. Little wonder that some dubbed the
album a prog-rock folly on release.

Twenty years on, though, the world has changed, as have the connotations of prog, and 10 000 Hz Legend has never sounded better. It’s back as a deluxe CD reissue, featuring a bonus track, a disc of rarities and the whole album in Dolby Atmos and 5.1 format.

As a whole, it’s still an unwieldy, awkward beast, but the peaks are impressive. The opening “Electronic Performers” oscillates between bucolic piano-and-strings sections, and overdriven drum machine and electric guitar, building to a drop that never comes. “Machines give me some freedom/Synthesisers give me some wings”, they proclaim, voices digitally pitched down. “Sex Born Poison”, featuring Buffalo Daughter, moves daringly from Melody Nelson acoustic picking to an apocalyptic middle section and then finally a crescendo of synths, strings and horns.

“How Does It Make You Feel?” is a gorgeous, melancholic ballad, boasting the finest chorus on the album, and a computerised Mac voice blending with a human choir. The juxtapositions between the robotic narration and its declarations of undying love are affecting – but Air can’t resist puncturing the mood with a joke at the end. Disc Two features an illuminating demo version, including a piano part which amusingly (and surely accidentally) resembles the theme to Randall And Hopkirk (Deceased).

Air’s live act had been elevated after Moon Safari thanks to the involvement of some of Beck’s backing band, especially bassist Justin Meldal-Johnsen – their raucous, fuzzy live versions of “Electronic Performers” and “How Does It Make Your Feel?” are highlights of Disc Two here. On 10 000 Hz itself, though, Beck was enlisted to add some of his customary brilliant nonsense to “Don’t Be Light” (“We bang on gold tambourines/In the cross hairs of some transient gun…”) and write the folk-funk of “The Vagabond” around an incomplete Air demo, which we also get to hear on Disc Two. Elsewhere, Meldal-Johnsen, keyboardist Roger Manning Jr and drummer Brian Reitzell are crucial to the grooves of “Don’t Be Light”, “Radio #1” and “Radian”. The latter is one of 10 000 Hz…’s loveliest tracks, moving from ecstatic ambient drone to a skipping bossa nova with duetting flutes and strings. It raises the sobering thought that very few groups could afford to make an album on this scale today, orchestral sessions at Capitol Studios and all.

The sole bonus track, “The Way You Look Tonight”, originally released on the 2002 remix album Everybody Hertz, was finished too late to make 10 000 Hz…, but its final minute, full of static-y synths and crashing drums, connects it to the outlandish mores of its parent album. However, the rest of the song, melodic and subdued, anticipates the more organic, straightforward feel of 2004’s Talkie Walkie.

Viewed from one angle, then, 10000 Hz Legend is an ugly diversion in Air’s otherwise natural progression, a roadblock on the sensible route from Moon Safari to Talkie Walkie. But in other regards, it’s crucial to their journey: their most fascinating record as well as their most frustrating, an out-of-time album that’s been pulled gloriously into focus by the passing years. Vive la différence.

Houeida Hedfi – Fleuves de l’ me

John Lewis
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Houeida Hedfi – Fleuves de l’ me
The debut album by the Tunisian musician Houeida Hedfi has been more than 10 years in the making. In 2011 she played percussion on a compilation album of female musicians from Tunisia, many of them linked to the Arab Spring protests of 2010 and 2011. Hedfi’s contribution was mixed by the Swedish p...

The debut album by the Tunisian musician Houeida Hedfi has been more than 10 years in the making. In 2011 she played percussion on a compilation album of female musicians from Tunisia, many of them linked to the Arab Spring protests of 2010 and 2011. Hedfi’s contribution was mixed by the Swedish producer Olof Dreijer – one half of the electronic duo The Knife – and the two developed a rapport. Dreijer played flute in Hedfi’s band Hiya Wal Âalam, who toured America in 2015, and offered to produce her work.

Hedfi, however, didn’t release anything until she had completely refined her sound. She had started out as a percussionist in a band called Chabbouba, who specialised in stambeli, a form of percussive trance music associated with Tunisia’s black sub-Saharan minority. “I loved it,” says Hedfi, “but the music was primarily rhythmic. I needed melody.” Over the course of several years, Hedfi and Dreijer started to explore a kind of pan-Arabic chamber music that was primarily melodic, eventually settling on a core group – Palestinian bouzouki player Jalal Nader, Tunisian violinist Radhi Chaouali, Swedish cellist Agnes Magnusson and Parisian bassist Ragheb Ouerghi – along with a host of guest musicians. The resulting album – Fleuves De l’Âme – creates a different kind of trance music, one where the meditative mood is created tonally rather than rhythmically. Hedfi still plays a variety of percussion instruments, but the rhythms tend to be muted; sometimes she plays tuned percussion like glockenspiels; more often she is playing soft chords on the piano.

The album is refracted through the lens of club culture – not only is it produced by Dreijer but it is being released on the record label owned by Erol Alkan (the London remixer and producer behind the likes of Duran Duran, The Killers and Ride and the DJ responsible for the iconic Trash club nights). Yet this is not one of those clubby worldbeat albums that plasters breakbeats and electronic bleeps over traditional music. Instead the electronics are more subtly embedded in the music from the start. For instance, on “Namami Gange” (Obedience to the Ganges), a processed and sampled voice has been cleverly woven into a tapestry completed by Radhi Chaouali’s violins, Jalal Nader’s bouzouki and Saloua Ben Salah’s guitar. Dreijer plays woodwind instruments through effect units, other times he expertly recreates Arabic wind instruments on synthesisers.

On “Echos De Medjerda” (Echoes of the Medjerda, a river in Tunisia), he plays a rasping, FX-laden bass recorder that resembles an Indian flute or an Arabic mizmar, accompanied by the polyrhythms being played on two bodhran-like frame drums – the daf and the bendir. On “Baisers Amers De l’Euphrate” (Bitter Kisses of the Euphrates) he plays ghostly synth drones that sound like he’s rubbing wine glasses, creating a galloping arpeggio in waltz time over which Fadhel Boubaker improvises on an oud.

Each track is named after a river of the world, and each serves as a kind of voyage – sometimes a pleasure cruise, sometimes an apprehensive voyage of discovery. Some are episodic and change mood mid-song. On “Envol Du Mekong” (Flight of the Mekong) a sighing violin and a slurring, Oriental-tinged bouzouki improvise over a stately Philip Glass-style organ arpeggio in 6/8, a piece of minimalism that suddenly switches into an Arabic waltz at around the five-minute mark, before slowly mutating into a piece of thrash metal. On “Appel Du Danube” (Call of the Danube), a romantic major-key piece for strings and glockenspiel suddenly gives way to a sinister minor-key piano line, all horror-movie chord changes and doomy bowed bass. Most complex of all is the 18-minute closing track, “Cheminement Du Tigre” (Trails of the Tigris), where Hedfi’s drums, melodica and glockenspiel are put through the dub chamber while a host of stringed instruments –
a bouzouki, a kanun box zither and a violin – take turns in soloing, digitally processed by Dreijer. It ends with a heavy jazz breakdown, where Anissa Hammami’s
lute-like gumbri sounds like Charles Mingus’ double bass.

One key element of this sound is the use of tunings and modes specific to Arabic maqam music, which often use quarter tones that don’t exist in standard western scales. These are the notes between the notes that give the melodies a wonderfully skew-whiff quality, like the bent notes played by ancient blues guitarist. Even at its most precise and clockwork – like the swooning stringed instruments of “Le Cloches De Yamuna” (The Bells of Yamuna) or the delicate temple music that takes up most of “Cheminement Du Tigre” – it gives this album a bluesy sense of abandon; this is chamber music taken into a different dimension.

The Doors – LA Woman 50th Anniversary Deluxe Edition

Paul Moody
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The Doors – LA Woman 50th Anniversary Deluxe Edition
The portents weren’t good. Still reeling from a disastrous gig in New Orleans where Jim Morrison – overweight, heavily bearded and catatonically drunk – had smashed his microphone and stormed off stage during final song “Light My Fire”, The Doors assembled at their rehearsal room at 8512 S...

The portents weren’t good. Still reeling from a disastrous gig in New Orleans where Jim Morrison – overweight, heavily bearded and catatonically drunk – had smashed his microphone and stormed off stage during final song “Light My Fire”, The Doors assembled at their rehearsal room at 8512 Santa Monica Boulevard in December 1970 to start work on a new record.

With their singer potentially facing six months’ hard labour in a Florida prison, having been found guilty of “indecent exposure and profanity” at their infamous gig in Miami, long-term producer Paul Rothchild having quit, and short on new material, the odds seemed stacked against them. Yet the album which emerged from this seemingly hopeless situation is now widely considered to be The Doors’ defining artistic statement.

A soundscape of the city that spawned it, LA Woman oozes both glamour and seediness, its combination of driving, desert-dry blues and brooding lounge as sleazily enigmatic as its titular heroine, “another lost angel” in the “city of night”. Shot through with a sense of impending doom – five of the ten tracks, eight written by Morrison, are coded farewells – it’s as gripping as fiction, a goodbye to both Los Angeles and the singer’s rock-star alter ego. All set against a musical backdrop that takes the band full circle to their garage roots.

A decade on from the album’s last reissue, this expanded 50th-anniversary edition sheds new light on this most intriguing of records. Newly remastered – once more – by producer Bruce Botnick, the original 49-minute album comes with some serious sonic sparkle. John Densmore’s drums are snappier, Robby Krieger and Ray Manzarek’s intuitive interplay more zingy, Morrison’s boozy baritone more intoxicating than ever.

It’s the two hours of bonus material, however, that really set the pulse racing. Opening with Morrison announcing, “Work in progress, take one”, a demo of “Hyacinth House” recorded at Krieger’s home studio in 1969 is rudimentary but still affecting, the singer’s cryptic lyric – inspired by Greek mythology and hinting at a re-evaluation of his own life – all the more compelling set against just acoustic guitar and Densmore’s congas.

Only discovered by Botnick on an unmarked reel while overseeing the project, a full band version of “Riders On The Storm” is a different beast altogether. Recorded at Sunset Sound Studios earlier in the year, and famously derided as “cocktail music” by outgoing producer Rothchild, it’s slightly pacier than the finished version, Manzarek’s fuzz-tone piano bass and Densmore’s more aggressive drum pattern providing a suitably paranoic backdrop for Morrison’s tale of a hitch-hiking highway killer.

“Part 2” is where we’re really offered a peek behind the creative curtain. With all six musicians (including former Elvis bassist Jerry Scheff and rhythm guitarist Marc Benno) crammed into their cramped basement practice room – Morrison sang his vocals in the bathroom – the songs come charged with a kinetic energy. You can almost feel the sweat dripping off the walls during a 26-minute montage of various takes of “The Changeling”. Beginning with a sadly abandoned scorching instrumental intro, it ebbs and flows from organ-heavy freakout to the James Brown-style soul strut of the finished version, Morrison maintaining energy levels throughout with a series of whoops, grunts and howls. It’s the sound of both band and singer cutting loose, Morrison’s heartfelt hollers of “I’m leaving town on the midnight train!” driven by a desperation to escape the straitjacket of stardom.

A 20-minute flow of various versions of “Love Her Madly” is equally absorbing, Manzarek’s extended keyboard vamp on one take suggesting the myriad pathways this most succinct of pop songs could have taken. If Morrison sounds largely uninterested here, mumbling “lucky nine” as the band attempt another version, he’s on fire during 18 minutes of outtakes for “Riders On The Storm”. “Riding down the trail to Albuquerque/Saddlebags filled with beans and jerky”, he ad-libs jokily in response to Krieger’s “Rawhide”-style guitar noodling between takes, and later announces, “I’m just a dumb singer,” when he’s chided for missing a vocal cue, before drawling, “I’ll come in whenever I feel like it” – still every inch the Lizard King. One version even finds him experiencing a “eureka” moment as he comes up with the notion of starting the song with rainstorm sounds effects. “Hey, that’s a good idea!” he says to himself, having imitated the sound of a thunderclap over the opening bars. It’s a shiver-down-the-spine moment – rock history in the making.

The various takes of “LA Woman” are equally exhilarating. One version climaxes with a frazzled Morrison rasping “Mr Mojo Risin!”, as the band conjure up a blistering outro of overdriven keys, pounding drums and needle-sharp guitar glissandos, while a hypnotically sludgy, 13-minute “Part 3” is as swampy as the bayou. It’s the best of the unreleased material, although a cover of Allen Toussaint’s “Get Out Of My Life, Woman”, a staple of early live shows, runs it close.

In the end, of course, those portents turned out to be true. Jim Morrison never stepped on stage again, and two-and-a-half months after the release of LA Woman, on July 3, 1971, he was found dead in a Paris bathtub, aged 27. On the lonely highways and in the seedy lounge bars of this album, however, he remains, as he sings on “The WASP (Texas Radio And The Big Beat)”, “stoned, immaculate”.

Watch Bruce Springsteen perform with Steve Earle and The Dukes

Sam Moore
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Watch Bruce Springsteen perform with Steve Earle and The Dukes
Bruce Springsteen performed a special set with Steve Earle and his band The Dukes on Monday night (December 13) - you can see fan-shot footage of the gig below. ORDER NOW: Paul Weller is on the cover in the latest issue of Uncut READ MORE: Close friends and collaborators discuss the many fa...

Bruce Springsteen performed a special set with Steve Earle and his band The Dukes on Monday night (December 13) – you can see fan-shot footage of the gig below.

The performance at The Town Hall in New York City was part of the seventh annual John Henry’s Friends benefit concert, which raised money for The Keswell School, an educational programme for children and young adults with autism.

Earle and The Dukes were joined mid-way through the evening by Springsteen for a 20-minute, four-song set, which kicked off with a rendition of Springsteen’s “Darkness On The Edge Of Town”.

Springsteen also played “The Promised Land”, “Glory Days” (where he was joined by Willie Nile) and “Pink Cadillac” – you can watch fan-shot footage of those three songs below.

Springsteen later returned to the stage with the rest of the artists on the line-up for a performance of Crosby, Stills, Nash & Young’s “Teach Your Children”.

The benefit concert raised over $100,000 (£75,000) for the Keswell School, with Earle sharing his gratitude to Springsteen and all of the artists who participated in an Instagram post Tuesday (December 14).

The Town Hall gig follows on from a four-song set that Springsteen recently performed at another benefit show at Alice Tully Hall in New York.

Springsteen performed “I’ll Work For Your Love” from 2007’s Magic, the title track from last year’s Letter To You album, and classic tracks “Hungry Heart” and “Dancing In The Dark” during the show.

Pink Floyd surprise fans with release of a dozen live albums

Will Lavin
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Pink Floyd surprise fans with release of a dozen live albums
Pink Floyd have surprised fans with the release of a dozen live albums documenting some of their gigs from the early '70s. ORDER NOW: Paul Weller is on the cover in the latest issue of Uncut READ MORE: Nick Mason on Syd Barrett: “He was pushing in a weirder direction” The 12 LPs w...

Pink Floyd have surprised fans with the release of a dozen live albums documenting some of their gigs from the early ’70s.

The 12 LPs were added to streaming services this week with no prior announcement, spanning the years 1970 to 1972, covering the period in which the band released Atom Heart Mother (1970), Meddle (1971), and Obscured By Clouds (1972).

The earliest recording, titled They Came In Peace, and featuring performances from Leeds University on February 28, 1970 and Washington University on November 16, 1971, features seven tracks and totals one hour 34 minutes in length.

The most recent of the recordings was taped in Tokyo on March 16, 1972; it hears the band performing seven tracks from The Dark Side Of The Moon almost a year before the album was released, on March 1, 1973.

There’s also a full recording of the band’s September 23, 1971 show at the KB Hallen, Copenhagen, split into two volumes.

The full list of albums the band released as part of their surprise drop is as follows:

  • They Came In Peace, Leeds University 28 Feb 1970 Washington University 16 Nov 1971 (LISTEN HERE)
  • Live At Grosser Saal, Musikhalle, Hamburg, West Germany 25 Feb 1971 (LISTEN HERE)
  • Mauerspechte Berlin Sportpalast 5 June 1971 (LISTEN HERE)
  • Lyon & Tokyo, Lyon 12 June 1971, Tokyo 16 March 1972 (LISTEN HERE)
  • Palaeur Rome 20 June 1971 (LISTEN HERE)
  • Amsterdamse Bos Free Concert 26 June 1971 (LISTEN HERE)
  • Live In Montreux 18 & 19 Sept 1971 (LISTEN HERE)
  • KB Hallen, Copenhagen 23 Sept 1971 (LISTEN HERE)
  • KB Hallen, Copenhagen, Vol II, Live 23 Sept 1971 (LISTEN HERE)
  • Over Bradford Pigs On The Groove Bradford University 10 Oct 1971 (LISTEN HERE)
  • Embryo, San Diego, Live 17 Oct 1971 (LISTEN HERE)
  • The Screaming Abdabs Quebec City, Live 10 Nov 1971 (LISTEN HERE)

Meanwhile, Nick Mason has said he is “flabbergasted” by Roger Waters saying that he felt bullied by members in Pink Floyd.

The former Floyd drummer said in a recent interview that he was surprised to hear Waters claim in September that ex-guitarist/vocalist David Gilmour and ex-keyboardist Richard Wright were “always trying to drag me down”.

Supergrass postpone December shows due to rise in Omicron cases

Ali Shutler
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Supergrass postpone December shows due to rise in Omicron cases
Supergrass have postponed all of their remaining December shows due to the “uncertainty” caused by a rise of Omicron cases in the UK. ORDER NOW: Paul Weller is on the cover in the latest issue of Uncut READ MORE: Supergrass – The Strange Ones: 1994-2008 review The recently reunited...

Supergrass have postponed all of their remaining December shows due to the “uncertainty” caused by a rise of Omicron cases in the UK.

The recently reunited band were set to play their first hometown show in 12 years on December 18 at the O2 Academy Oxford, followed by a gig in Glasgow and a headline show at London’s O2 Academy Brixton. All three shows will be rescheduled for next year.

Announcing the postponement on Twitter, Supergrass wrote: “Folks, we’re so sorry but we’re going to have to postpone our December shows. A lot has changed over the last few days with the rise in Omicron cases. It’s been an incredibly tough call to make but we feel to play these shows at this point in time would be the wrong thing to do for all concerned.”

“We want to give you all the best show we can, everyone to feel safe and for no fan to lose out at Christmas time due to all the uncertainty at the moment. We’re gutted to have to do this and we hope you all understand.”

The list of postponed shows is as follows:

DECEMBER

18 – O2 Academy Oxford, Oxford
19 – O2 Academy, Glasgow
20 – O2 Academy Brixton, London

The likes of The Charlatans, Sam Fender, Paul Weller and Coldplay have all scrapped recent shows due to COVID infections while The Streets have pulled their entire 2022 tour.

Last week, Boris Johnson announced ‘Plan B’ measures that made COVID passports mandatory for gigs and nightclubs, with people needing to show proof they’re fully vaccinated, or provide a negative test.

However, earlier this week he confirmed that the government had no plans to close pubs, venues or nightclubs. “We are not closing hospitality or stopping parties,” he said, though he did urge the public to take caution when attending social events and emphasised the importance of regular testing.

This messaging has created what some industry professionals are calling a “steal lockdown” with many venues “on the brink of collapse” due to postponed gigs, a “catastrophic” drop in attendance and worries about a January lockdown.

Mayor of Greater Manchester Andy Burnham, has hit back at Johnson’s messaging. “You can’t tell people to ‘think carefully’ before going to pubs and restaurants and then fail to provide any support for the workers/businesses affected,” he said on social media.

“The Government needs to bring forward a support package TODAY for hospitality, events, music and other affected sectors.”

The Kinks’ Dave Davies announces autobiography Living On A Thin Line

Sam Moore
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The Kinks’ Dave Davies announces autobiography Living On A Thin Line
The Kinks’ Dave Davies has announced details of his forthcoming autobiography Living On A Thin Line. ORDER NOW: Paul Weller is on the cover in the latest issue of Uncut READ MORE: The Kinks – Lola Versus Powerman And The Moneygoround, Part One review The guitarist will use the book t...

The Kinks’ Dave Davies has announced details of his forthcoming autobiography Living On A Thin Line.

The guitarist will use the book to “revisit the glory days of the band that spawned so much extraordinary music, and which had such a profound influence on bands from The Clash and Van Halen to Oasis and Blur”.

“Full of tales of the tumultuous times and the ups-and-downs of his relationship with his brother Ray, along with encounters with the likes of John Lennon and Jimi Hendrix, this will be a glorious read for Kinks fans and anyone who wants to read about the heyday of rock ‘n’ roll,” Living On A Thin Line‘s synopsis continues.

Headline Publishing Group will publish Davies’ Living On A Thin Line on July 7, 2022, which can be pre-ordered here.

In a statement about the book, Davies said: “I’ve had a laugh, and shed quite a few tears, thinking back over the last six decades since The Kinks had our first hit in 1964 with ‘You Really Got Me’.

“Here are the ups and downs of my life in The Kinks and what happened afterwards. Prepare to be amazed and, I hope, surprised.”

Earlier this year The Kinks staged a livestream event, titled The Moneygoround, to celebrate the 50th anniversary of their album Lola Versus Powerman And The Moneygoround, Part One.

“The Moneygoround is a one-man show documenting a character facing the challenging circumstances of making an album under extreme pressure,” Ray Davies said in a statement at the time.

“This play, similar to a psychodrama, follows the ups and downs of the character as he plays out events in his life. He confronts the dark forces surrounding him after falling into an emotional and financial ‘hole’ eventually he is saved by a song after confiding in his friend, Lola.”

Bruce Springsteen sells his masters and publishing rights for $500million

Tom Skinner
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Bruce Springsteen sells his masters and publishing rights for $500million
Bruce Springsteen has sold his masters and publishing rights to Sony Music in a combined deal worth around $500million (£377million), it has been reported. ORDER NOW: Paul Weller is on the cover in the latest issue of Uncut READ MORE: Close friends and collaborators discuss the many faces ...

Bruce Springsteen has sold his masters and publishing rights to Sony Music in a combined deal worth around $500million (£377million), it has been reported.

According to Billboard, the sale will give the company ownership of the musician’s entire back catalogue which includes 20 studio albums, 300 songs, 7 EPs, 23 live records and more.

Springsteen has released his albums through Sony Music Entertainment imprint Columbia Records for his entire career, beginning with his 1973 debut Greetings From Asbury Park, N.J.. His latest full-length, Letter To You, came out in October 2020.

It was reported last month that The Boss was finalising talks to sell his publishing rights to Sony Music. At the time, it was said that he’d set his sights on upwards of $350million (£256.5million) for both the publishing and recorded masters.

Springsteen was also looking to sell his publishing catalogue, which was previously owned by Universal Music Publishing Group.

Bruce Springsteen
Bruce Springsteen. Image: Taylor Hill / Getty Images

The singer-songwriter acquired ownership of his music in the late 1980s and 1990s.

Springsteen has become the latest heritage act to sell off their extensive catalogue in the past year or so, following in the footsteps of iconic musicians such as Bob Dylan, Stevie Nicks and Neil Young.

Dylan sold his music to Universal Music Publishing Group for $300 million (£226 million) while Young made a deal with Hipgnosis Songs Fund, who purchased bought 50 per cent of the rights to his back catalogue for an estimated $150 million (£113 million).

Springsteen released 20 studio albums between 1973 and 2020, with Billboard estimating that he made $15million (£11m) in revenue last year. Additionally, he is said to have brought in $7.5million (£5.5m) per year from publishing.

Famous names from the entertainment world honour George Harrison in “My Sweet Lord” video

Will Lavin
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Famous names from the entertainment world honour George Harrison in “My Sweet Lord” video
An all-star cast from the worlds of music, TV, film and comedy have joined forces to honour George Harrison in the first-ever official music video for his 1970 song, "My Sweet Lord". ORDER NOW: Paul Weller is on the cover in the latest issue of Uncut READ MORE: George Harrison – Deluxe Ul...

An all-star cast from the worlds of music, TV, film and comedy have joined forces to honour George Harrison in the first-ever official music video for his 1970 song, “My Sweet Lord”.

Originally released on November 23 (in the US), the track featured on the late Beatle’s third studio album, All Things Must Pass. The new video version boasts a fresh 2020 mix by Paul Hicks (The Beatles, The Rolling Stones, John Lennon), released August 6 on a suite of 50th anniversary editions of Harrison’s acclaimed LP.

The video for “My Sweet Lord” sees Fred Armisen (Anchorman) and Vanessa Bayer (Trainwreck) star as metaphysical special agents who are tasked by the head of a clandestine agency, played by Star Wars legend Mark Hamill, to search for that which can’t be seen.

Over 40 musicians, actors, comedian, directors, artists and other creatives make cameos in the Lance Bangs-directed clip, ranging from Harrison’s friends and former band mates Ringo Starr and Jeff Lynne to actors Darren Criss, Jon Hamm, and Rosanna Arquette.

Other guests appearances come from Joe Walsh, “Weird Al” Yankovic, Reggie Watts, Moshe Kasher, Taika Waititi, Natasha Leggero, Patton Oswalt, Tim and Eric (Tim Heidecker and Eric Wareheim), and Garfunkel and Oates (Kate Micucci and Riki Lindhome).

The video also features Harrison’s wife Olivia Harrison and their son Dhani Harrison, who appear in scenes with actress Aimee Mullins and actor Rupert Friend, respectively.

You can watch the video for “My Sweet Lord” below:

“Making this was one of the most fulfilling experiences of my life,” Bangs said in a press release. “The approach was to represent the song visually while these agents and inspectors kept missing the metaphysical wonder around them. Images are choreographed to the sounds of vocal melodies, guitar strums, drum patterns, chord changes.

“George threaded a sense of humor through all of his videos, so we kept that spirit and filled the cast with friends and admirers of his music, many coming from the current comedy landscape.

Bangs added: “I tracked down vintage prime lenses from some of the films George’s HandMade Films had produced, and I hope that viewers can feel a sense of wonder and searching while they watch it, and that the song continues to add to all of our lives.”

Last month marked the 20th anniversary of Harrison’s passing. He died of lung cancer on November 29, 2001 at the age of 58.

Paul McCartney and Ringo Starr took to social media to share tributes to their late bandmate.

McCartney shared an old image of himself and Harrison in the studio with a caption reading: “Hard to believe that we lost George 20 years ago. I miss my friend so much. Love Paul.”

Starr shared an image of him and Harrison smoking cigars, saying: “Peace and love to you George I miss you man. Peace and love Ringo”.

Paul Weller: “Suddenly I was this star. I hated all the attention”

Pete Paphides
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Paul Weller: “Suddenly I was this star. I hated all the attention”
You can hear Paul Weller and his band a good few minutes before you see them. But then again, on an otherwise empty Wimbledon industrial estate in mid-November, there aren’t many competing noises. Directions on a text message – right now only Weller’s texting is more prolific than his musical ...

You can hear Paul Weller and his band a good few minutes before you see them. But then again, on an otherwise empty Wimbledon industrial estate in mid-November, there aren’t many competing noises. Directions on a text message – right now only Weller’s texting is more prolific than his musical output – won’t be needed. “The world’s oblique”, rasps a voice that few British ears could mistake. “It’s Saturn’s turn/Cut it clean/The pattern’s good”. If there are better ways to spend a Sunday afternoon than an (almost) private preview of Weller’s first gigs in over two years, then Uncut can’t call them to mind right now. Dressed in brown merino sweater, blue jeans and chestnut loafers, Weller and his band are a third of the way through a set whose oldest song, “That’s Entertainment”, entered the British chart on the same week as Talking Heads’ “Once In A Lifetime” and Joe Dolce’s “Shaddap You Face”.

Within minutes of its famous staccato intro, a combustibly charged rendition of “Shout To The Top” is blown into the blue by a stellar sax solo from Jacko Peake. Back in 1993, it was Peake’s woodwind ornamentation on the Wild Wood album that underscored comparisons between the resurgent Weller and folk-soul legends such as Terry Callier and Jon Lucien. Indeed, these are the names that most readily come to mind when Weller leads his band into the contemplative terrain of his recent albums: 2018’s True Meanings, 2020’s On Sunset and the acclaimed lockdown labours of this year’s Fat Pop Volume 1. As Weller sings “Aspects” – a song from the first of those records – your gaze is somehow alerted to the sight of Weller’s veteran ex-tour manager Kenny Wheeler. Now the sole survivor of the Jam years, Wheeler is utterly transported by the acoustic reverie being played out by the singer who was still in his teens when he first started working for him. The spell is broken for all by the words that resound from Weller’s mouth on the song’s concluding chord.

“AWOIGHT PETE!” he bellows at me from 50 feet away. “HOW YOU DOIN’?! THERE’S SANDWICHES IN THAT ROOM!”

Moments later, it’s decreed that this is as good a time as any for a break, which is just as well. Run-throughs like this are as much for the benefit of Weller’s wardrobe as his musicianly chops, and the singer has decided that these shoes aren’t going to make the grade. Wandering over to the packing cases that house his wardrobe, he picks out a box-fresh pair of Converse hi-tops and jumps up and down a few times to assess their “springiness”. If any of his Jam and Style Council threads were in here, he’d comfortably fit into those, too. Since his mid-forties, he’s been enjoying regular workouts with his personal trainer Shane – in the gym at first, but since lockdown they’ve been strictly Zoom affairs, which suits this client just fine. “None of that fucking boom bang-a-bang music going on in the background,” he elaborates, before pitching a new business idea to no-one in particular. “Wouldn’t it be great if you had a gym where you actually had decent music to work out to? I mean, it ain’t got to be shit, has it? It could be, like, Little Richard! Stick on his Greatest Hits and you’re sorted! Or The Undisputed Truth. A bit of Norman Whitfield. Or The Dells. Do you know “Wear It On Our Face”? You could either do 500 crunches to that one or happily die trying.”

James Brown’s estate sells for £68million

Arusa Qureshi
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James Brown’s estate sells for £68million
James Brown's estate has been sold to publishing and management company Primary Wave, for an estimated at $90million (£68million). ORDER NOW: Paul Weller is on the cover in the latest issue of Uncut READ MORE: James Brown – Mr Dynamite: The Rise Of James Brown review According to repo...

James Brown’s estate has been sold to publishing and management company Primary Wave, for an estimated at $90million (£68million).

According to reports by Rolling Stone, the deal includes the entirety of Brown’s publishing, master income stream, and name and likeness rights that were owned by the estate.

This blockbuster deal follows news earlier this year that Brown‘s family had finally settled a 15 year legal wrangle over the late singer’s estate. He had specified in his will in 2000 that he would leave very little to his heirs, other than a $2million (£1.46million) scholarship fund for his grandchildren.

Most of his assets were left to establish scholarships for underprivileged children in South Carolina and Georgia. But this led to contention among his daughters Deanna Brown-Thomas and Yamma Brown, among others, who found a way to inherit potentially millions of dollars, following his death in 2006.

Another complication centred around Tommie Rae Hynie, who claimed to be Brown’s wife even though, South Carolina courts determined later, she was married to another man at the time of her marriage to Brown. In June 2020, the Supreme Court in his home state of South Carolina eventually ruled Hynie was not the late singer’s legal wife, ruling out much of her influence over the estate.

James Brown
James Brown. Photo by KMazur / WireImage

Primary Wave’s founder and CEO Larry Mestel has commented that the sale of the estate will help fund the scholarships Brown originally had in mind. Small percentages of earnings from future deals from his music will go towards setting up the scholarships. This, however, will not happen until ongoing lawsuits filed by Adele Pope, a former executor of Brown’s will, and Russell Bauknight, the fiduciary for the James Brown Estate and Trust, have been resolved.

Bauknight said in a statement: “The James Brown Estate and related Trust are very proud and excited to work with Larry Mestel and Primary Wave. We believe that our choice of professionals to take the James Brown Legacy to the next level is going to prove to be one of the most successful events in Mr. Brown’s long history in show business.”

Mestel added: “Wow, I am awed that Primary Wave has been chosen by the estate of James to partner with the Godfather of Soul. We are thrilled to help continue the expansion of his influence and further his legacy through both his music and The James Brown 2000 Trust.”

Primary Wave have previously been involved in deals with artists like Stevie Nicks and the estates of Whitney Houston and Prince. With legacy artists increasingly looking to sell song rights as part of the plans for their estates, Primary Wave and other similar companies have taken on a lead role in the booming song acquisition market.

Paul McCartney’s bass breaks world record at auction

Ali Shutler
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Paul McCartney’s bass breaks world record at auction
Paul McCartney’s guitar was sold at auction over the weekend, breaking the world record for the most expensive bass in the process. ORDER NOW: Paul Weller is on the cover in the latest issue of Uncut READ MORE: The Beatles: Get Back review The Yamaha BB-1200 bass guitar, which McCart...

Paul McCartney’s guitar was sold at auction over the weekend, breaking the world record for the most expensive bass in the process.

The Yamaha BB-1200 bass guitar, which McCartney used in the studio and on tour with Wings, sold for $496,100 (£374,905), beating the previous record of $384,000 (£290,190) set by The Rolling Stones’ Bill Wyman’s 1969 Fender Mustang bass in 2020.

The auction was organised by U2’s The Edge and producer Bob Ezrin for their Music Rising charity “to benefit musicians in the Gulf South,” following “the devastation the COVID-19 pandemic has wrought on musicians and musical communities”.

The likes of U2, Elton John, Pearl Jam, Rush, Tom Morello, Joan Jett, Bruce Springsteen, Lou Reed, Kings Of Leon, Johnny Marr, Green Day, Radiohead and Arcade Fire’s Win Butler also donated instruments to the auction which raised over $2million (£1.5million).

McCartney’s bass wasn’t the only record breaker of the evening either with Eddie Vedder’s Lake Placid Blue Fender Telecaster, which the musician had destroyed while playing a gig, selling for $266,200 (£201,168) making it the most expensive smashed guitar ever sold at auction.

Speaking about the event, The Edge said: “We want to thank everyone involved in this amazing auction including the artists who generously gave their personal instruments and the bidders from around the globe who helped us break world records.

“The proceeds Music Rising earned will help bring live music back to life in a part of the country whose musical culture has been hugely influential in the world,” he continued. “We are indebted to all of the supporters of Music Rising who have given us a great opportunity to return to our roots and help those musicians in need.”

Ezrin added: “We are so thankful to all of the artists, supporters and bidders who helped make Guitar Icons an auction for the history books. New Orleans musicians are the custodians of a unique music heritage, passing it down through the generations and influencing so many genres of music we enjoy.

“The proceeds from this auction will help musicians from the region who suffered financially through this pandemic.”

Nominations are here for the UK Americana Awards 2022

Cillian Breathnach
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Nominations are here for the UK Americana Awards 2022
Nominations have been unveiled for the 2022 edition of the UK Americana Awards. The winners will be announced at the awards ceremony, taking place on 27 January 2022, just after AmericanaFest UK. Both events are hosted by The Americana Music Association UK. The awards categories recognise a range...

Nominations have been unveiled for the 2022 edition of the UK Americana Awards. The winners will be announced at the awards ceremony, taking place on 27 January 2022, just after AmericanaFest UK. Both events are hosted by The Americana Music Association UK.

The awards categories recognise a range of UK and international talent, with prizes for UK and International albums, songs and artists of the year. Nominated artists include Yola for the record Stand For Myself, Ida Mae for the record Click Click Domino and Amethyst Kia for the record Wary + Strange.

Additionally, a number of special awards have been announced. Lucinda Williams will receive the International Lifetime Achievement Award, and Beth Orton will receive the Trailblazer award. The full list of nominees is below, and tickets are available at theamauk.org.

UK Americana Awards 2022 nominations:

UK Album of the Year

  • Click Click Domino by Ida Mae (produced by Christopher Turpin)
  • Good Woman by The Staves (produced by John Congleton)
  • The Wandering Hearts by The Wandering Hearts (produced by Simone Felice, David Baron, Mike Mogis and The Wandering Hearts)
  • Stand For Myself by Yola (produced by Dan Auerbach)

International Album of the Year

  • Wary + Strange by Amythyst Kiah (produced by Tony Berg and Amythyst Kiah)
  • Outside Child by Allison Russell (produced by Dan Knobler)
  • Arrivals by Declan O’Rourke (produced by Paul Weller)
  • Tasjan! Tasjan! Tasjan! by Aaron Lee Tasjan (produced by Aaron Lee Tasjan and Gregory Lattimer)

UK Song of the Year

  • “This Ain’t The Life” by Lauren Housley (written by Lauren Housley)
  • “Eye to Eye” by John Smith feat. Sarah Jarosz (written by John Smith and Sarah Siskind)
  • “Latchkey” by Memorial (written by Jack Watts and Oliver Spalding)
  • “Willing” by Lady Nade (written by Lady Nade)

International Song of the Year

  • “Never Said A Word” by Judy Blank & Dylan Earl (written by Judy Blank & Dylan Earl)
  • “Sweet Misery” by Tré Burt (written by Tré Burt)
  • “Right on Time” by Brandi Carlile (written by Brandi Carlile, Dave Cobb, Phil Hanseroth and Tim Hanseroth)
  • “Jeremiah” by Sierra Ferrell (written by Sierra Ferrell)

UK Artist of the Year

  • Elles Bailey
  • The Staves
  • John Smith
  • Yola

International Artist of the Year

UK Instrumentalist of the Year

  • Thomas Dibb
  • Joe Harvey-Whyte
  • Mark Lewis
  • Michele Stodart

Listen to two new Big Thief songs, “No Reason” and “Spud Infinity”

Sam Moore
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Listen to two new Big Thief songs, “No Reason” and “Spud Infinity”
Big Thief have shared two new songs, "No Reason" and "Spud Infinity" - you can hear both of the tracks below. ORDER NOW: Paul Weller is on the cover in the latest issue of Uncut READ MORE: Big Thief – Capacity review The songs are taken from the band's upcoming new album Dragon New War...

Big Thief have shared two new songs, “No Reason” and “Spud Infinity” – you can hear both of the tracks below.

The songs are taken from the band’s upcoming new album Dragon New Warm Mountain I Believe In You, which is set for release on February 11, 2022 via 4AD.

The two new tracks follow on from Big Thief’s previous album previews “Time Escaping”, “Change”, “Certainty”, “Little Things” and “Sparrow”.

“No Reason”, which you can hear below, features the musician Richard Hardy, who has previously worked with Carole King, on flute.

“Spud Infinity”, meanwhile, features Mat Davidson playing fiddle and Noah Lenker, the brother of Big Thief vocalist Adrianne Lenker, playing jaw harp – you can hear that track below.

“One of the things that bonds us together as a band is pure magic,” Lenker said in a statement recently about Dragon New Warm Mountain I Believe In You.

“I think we all have the same guide and none of us have ever spoken what it is because we couldn’t name it, but somehow, we are all going for the same thing, and when we hit it… we all know it’s it, but none of us to this day, or maybe ever, will be able to articulate in words what the ‘it’ is. Something about it is magic to me.”

Big Thief will head out on a UK and European tour in 2022 in support of their upcoming new LP. You can see their UK and Ireland dates below.

February 2022
24 – Manchester Academy 1, Manchester
25 – Barrowland, Glasgow
26 – National Stadium, Dublin
27 – O2 Academy Bristol, Bristol

March 2022
2 – O2 Shepherd’s Bush Empire, London
3 – O2 Shepherd’s Bush Empire, London
4 – O2 Shepherd’s Bush Empire, London

AmericanaFest UK is back as an in-person event for 2022: see the lineup here

Cillian Breathnach
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AmericanaFest UK is back as an in-person event for 2022: see the lineup here
The lineup has been announced for the 2022 edition of AmericanaFestUK, the UK Americana Week’s showcase music festival. Six London venues will play host to 70 events across the festival, alongside the UK Americana Awards 2022 and a conference hosted by The Americana Music Association UK. UK Ame...

The lineup has been announced for the 2022 edition of AmericanaFestUK, the UK Americana Week’s showcase music festival. Six London venues will play host to 70 events across the festival, alongside the UK Americana Awards 2022 and a conference hosted by The Americana Music Association UK.

UK Americana Week 2022 will kick off on Monday 24 January, with the conference taking place across 25, 26 and 27 January at the Hackney Picturehouse and the Moth Club. The showcase events will take place on the evenings of 25 and 26 January, starting at 5:30 PM across six venues: Oslo, Moth Club, Paper Dress Vintage, Night Tales, Hackney Social and The Globe.

The UK Americana Awards will take place on the evening of the 27 January at the Hackney Empire. A single ticket can be purchased for all events, alongside individual tickets for the showcase festival and the awards ceremony.

The full line-up of artists playing at the showcase venue so far includes almost 70 artists, with more to be announced. Check out the full lineup below, and find out more at theamauk.org.

The lineup so far:

Amy Yon
Awkward Family Portraits
Dan Bettridge
Dani Larkin
Danny Addison
Del Barber
Demi Marriner
Eddy Smith & The 507
Elles Bailey
Emma Swift
Ferris & Sylvester
Georgia Van Etten
Hello June
Hollie Rogers
Izzie Walsh
Jack & Tim
James Riley
Jarrod Dickenson
Jesper Lindell
Jill Jackson
Katherine Priddy
Lady Nade
Lauren Housley
Liam Jordan
Memorial
Michele Stodart
Miko Marks
Misty River
Mom + The Rebels
Mo Kenney
Noble Jacks
Police Dog Hogan
Robbie Cavanagh
Roswell
Sarah Potenza
Simeon Hammond Dallas
Steady Habits
Steve Dawson
Susto
The Artisinals
The Jellyman’s Daughter
The People Versus
Them Dirty Dimes
Tre Burt
Warren Wentworth
Amy Nelson
Andrew Waite
Dave Sampson
Kaia Kater
Lawrence Maxwell
Megan Nash & the Best of Intentions
Mikhail Laxton
Shane Pendergast
Tara MacLean
Terra Spencer
The Hello Darlins
Whitehorse
Darling West
Louien
Malin Pettersen
The Northern Belle
Signe Marie Rustad
Danny George Wilson
Native Harrow
The Hanging Stars
Treetop Flyers

Animal Collective pay tribute to Scott Walker on trippy new single “Walker”

Matt Doria
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Animal Collective pay tribute to Scott Walker on trippy new single “Walker”
Animal Collective have shared the latest single from their forthcoming Time Skiffs album, a radiant tribute to the late, great Scott Walker, bluntly titled "Walker". ORDER NOW: Paul Weller is on the cover in the latest issue of Uncut READ MORE: Animal Collective – Painting With review ...

Animal Collective have shared the latest single from their forthcoming Time Skiffs album, a radiant tribute to the late, great Scott Walker, bluntly titled “Walker”.

In an interview with Apple Music 1’s Zane Lowe, band member Panda Bear (aka Noah Lennox) said the new track was written around the time of Walker’s March 2019 passing. “Scott’s music has meant a lot to me,” Lennox said, “and he’ll always be a big inspiration”.

Despite its honourable origins, however, Lennox did point out that there is “also a kind of exhaustion and resignation to the singer of ‘Walker’ that belies a darker layer”.

Take a look at the music video for “Walker”, directed by fellow band member Avey Tare (aka David Portner) and his sister Abby, below:

“It was so much fun to collaborate with Dave on this video,” commented Abby Portner on the bewitching visuals that steer the video.

“There were so many drawings and phone calls back and forth about how to make the record cover come to life and so much experimenting with movements of the band and acrobats to figure out how to get the flow right. I have never been on a set with so much excitement and clapping after takes when it all fell into place.”

“Walker” comes as the second track to be shared from Time Skiffs, following lead single “Prester John” in October. That song came about via the merging of two separate demos, one written by Tare and the other by Lennox.

Time Skiffs – Animal Collective’s 11th full-length effort, and their first since 2016’s Painting With – is due for release on February 4 via Domino.

Shortly after the album’s release, Animal Collective will head out on a 15-date North American tour. More details for that can be found on the band’s website.

Brad Pitt and producer Damien Quintard are reopening historic French recording studio

Damian Jones
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Brad Pitt and producer Damien Quintard are reopening historic French recording studio
Brad Pitt and French producer and composer Damien Quintard have teamed up to renovate and reopen a recording studio in France that the actor has owned since 2012. ORDER NOW: Paul Weller is on the cover in the latest issue of Uncut Miraval Studios, which has been inactive since the early 200...

Brad Pitt and French producer and composer Damien Quintard have teamed up to renovate and reopen a recording studio in France that the actor has owned since 2012.

Miraval Studios, which has been inactive since the early 2000s, will begin hosting sessions in summer 2022.

In the past the likes of Pink Floyd’s The Wall and The Cure’s Kiss Me, Kiss Me, Kiss Me have been recorded there. AC/DC, Sade, The Cranberries, Courtney Love, and Sting also used the studio for recording sessions.

“We clicked,” Quintard told The Hollywood Reporter “He [Pitt] came to my studio in Paris. It was a fantastic meeting. We talked for hours and hours. He talked to me about his plans for Miraval. I was obviously super excited, because as a Frenchman and a music lover, one of the Holy Grails is Miraval. I went over there, did my design for the space. We clicked on that side, and we moved forward.”

“With Brad, we redesigned everything to be so simple, so pure. Light is everywhere,” Quintard continued. “The future is light.”

Broken Social Scene announce new rarities collection

Elizabeth Aubrey
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Broken Social Scene announce new rarities collection
Broken Social Scene have announced a new rarities collection. The group will release Old Dead Young: B Sides & Rarities on January 14 via Arts & Crafts. ORDER NOW: Paul Weller is on the cover in the latest issue of Uncut READ MORE: Broken Social Scene – Hug Of Thunder review ...

Broken Social Scene have announced a new rarities collection.

The group will release Old Dead Young: B Sides & Rarities on January 14 via Arts & Crafts.

The collection will contain B-sides, rarities and outtakes from across the group’s 20 year career.

The group also shared the first song from the release, “This House Is On Fire” – listen to it here:

Back in January, frontman Kevin Drew shared a previously unreleased “jam”, titled “How’s It Going”.

The frontman shared the song with a video telling fans on Twitter it was intended to “remind us that we must keep holding on”.

In the description box on YouTube, Drew expanded on the story behind the song and the meaning it had taken on during the coronavirus pandemic. “How’s it going. This is a loaded question as we watch each other trying to navigate these times. Back in summer of 2014 I put down a song called “how’s it going” with my usual crew of believers. It was never released.

“My friend Jordan and I hunted down footage on the internet to put this video for the tune together. Many thanks to all those directors, artists, archivists and faces that we used.——- I miss the days of before as I wait for the days of new to keep arriving. Love to you all – hold on xox Kevin.”

Broken Social Scene last released new music with the 2019 EPs Let’s Try The After (Vol. 1) and Let’s Try The After (Vol. 2).

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