Subscribe
Home Blog Page 547

David Bowie teams up with Paul Smith for ‘The Next Day’ t-shirt

Uncut
-
0
David Bowie teams up with Paul Smith for ‘The Next Day’ t-shirt
David Bowie has teamed up with designer Paul Smith for a T-shirt to celebrate the release of his new album 'The Next Day'. The cotton T-shirt, which features the Jonathan Barnbrook-designed artwork for 'The Next Day' - inspired by Bowie's 1977 album 'Heroes' – is one of many collaborations betwe...

David Bowie has teamed up with designer Paul Smith for a T-shirt to celebrate the release of his new album ‘The Next Day’.

The cotton T-shirt, which features the Jonathan Barnbrook-designed artwork for ‘The Next Day’ – inspired by Bowie’s 1977 album ‘Heroes’ – is one of many collaborations between Bowie and Smith planned this year, Vogue reports. The shirt features a message and signature written by Paul Smith on the bottom right corner of the album sleeve image.

“David Bowie has worn a lot of Paul Smith throughout his career and I was excited and delighted when asked if I would do the official T-shirt for his album, ‘The Next Day’,” Smith told Vogue “There will also be some other great things coming up later in the year.” The shirt will be available from March 7, priced at £70, from paulsmith.co.uk.

David Bowie will release ‘The Next Day’ on March 11.

You can read the definitive review of the album in this month’s Uncut, which is on sale now.

David Grohl “Sound City” Soundtrack Now Free To Stream

Uncut
-
0
David Grohl “Sound City” Soundtrack Now Free To Stream
Dave Grohl’s all-original soundtrack to his documentary “Sound City” is now free to stream at the NME website. ‘The Sound City Players’ – essentially David Grohl teaming with an all-star team of guests, matches Grohl with Stevie Nicks, Josh Homme, John Fogarty, Trent Reznor and Paul McC...

Dave Grohl’s all-original soundtrack to his documentary “Sound City” is now free to stream at the NME website. ‘The Sound City Players’ – essentially David Grohl teaming with an all-star team of guests, matches Grohl with Stevie Nicks, Josh Homme, John Fogarty, Trent Reznor and Paul McCartney.

The Paul McCartney song, which the Beatle billed as a Nirvana reunion, features all surviving members of Nirvana; Grohl, Krist Novoselic and late-era guitarist and ex-Germ Pat Smear. Other songs include artists ranging from Rick Springfield to Lee Ving of Fear to a pair of Rage Against the Machine members.

Grohl’s documentary honours the recently-closed Sound City Studios in Los Angeles, where Nirvana and a bevy of other rock legends recorded.

The Sound City Players will play this year’s SXSW, where Grohl will serve as a keynote speaker.

A track listing appears below:

1. Heaven And All – Robert Levon Been, Dave Grohl & Peter Hayes

2. Time Slowing Down – Chris Goss, Tim Commerford, Dave Grohl & Brad Wilk

3. You Can’t Fix This – Stevie Nicks, Dave Grohl, Taylor Hawkins & Rami Jaffee

4. The Man That Never Was – Rick Springfield, Dave Grohl, Taylor Hawkins, Nate Mendel & Pat Smear

5. Your Wife Is Calling – Lee Ving, Dave Grohl, Taylor Hawkins, Alain Johannes & Pat Smear

6. From Can To Can’t – Corey Taylor, Dave Grohl, Rick Nielsen & Scott Reeder

7. Centipede – Joshua Homme, Chris Goss, Dave Grohl & Alain Johannes

8. A Trick With No Sleeve – Alain Johannes, Dave Grohl & Joshua Homme

9. Cut Me Some Slack – Paul McCartney, Dave Grohl, Krist Novoselic & Pat Smear

10. If I Were Me – Dave Grohl, Jessy Greene, Rami Jaffee & Jim Keltner

11. Mantra – Dave Grohl, Joshua Homme & Trent Reznor

Rolling Stones for Glastonbury? Rumours intensify.

Uncut
-
0
Rolling Stones for Glastonbury? Rumours intensify.
Kasabian's Serge Pizzorno has apparently confirmed that The Rolling Stones will be playing this summer's Glastonbury Festival. Speaking to MTV News, the band's chief songwriter was talking about Kasabian's headline slot at Hard Rock Calling, which takes place the same June weekend as Glastonbury. H...

Kasabian’s Serge Pizzorno has apparently confirmed that The Rolling Stones will be playing this summer’s Glastonbury Festival.

Speaking to MTV News, the band’s chief songwriter was talking about Kasabian’s headline slot at Hard Rock Calling, which takes place the same June weekend as Glastonbury. He said: “I hope ours is the most talked about performance of the weekend, but that would be a miracle because The Rolling Stones are playing Glastonbury.”

Many a Rolling Stone has previously hinted at playing the show’s Pyramid Stage. Mick Jagger told NME in January “There are other things in the world, you know, apart from Glastonbury! But then again, Glastonbury is very important. It seems to be very important to my children – highlight of their year!”

He added, “But is it going to be rainy on the Sunday? Isn’t it nearly always rainy on the Sunday?”

Ronnie Wood seemed more determined in an interview with the Independent.

“Wouldn’t it be nice?” Wood said, adding “We’ve got a meeting next month and that’s going to be my first question to them. It’s something I’ve always been interested in. I’m going to twist their arms. I’ve got lots of high hopes this year, now that we’re all rehearsed – let’s get it cracking this summer!”

Alvin Lee of Ten Years After dies aged 68

Uncut
-
0
Alvin Lee of Ten Years After dies aged 68
Alvin Lee, co-founder and guitarist with Ten Years After, has died aged 68. According to a statement posted yesterday (March 6) on his website, Lee died from complications following surgery. Born in Nottingham in 1944, Lee played in a number of local bands before he founded Ten Years After in 1966...

Alvin Lee, co-founder and guitarist with Ten Years After, has died aged 68.

According to a statement posted yesterday (March 6) on his website, Lee died from complications following surgery.

Born in Nottingham in 1944, Lee played in a number of local bands before he founded Ten Years After in 1966 with bassist Leo Lyons. They released their self-titled debut album in 1967. In 1969, they played the Newport Jazz Festival and, notably, Woodstock, where Lee led the band through a memorable version of “I’m Going Home” that you can watch below.

Ten Years After had eight Top 40 albums in the UK, before Lee left the band in 1973 to focus on his solo career. That same year, he released On The Road To Freedom with American musician Mylon LeFevre, which featured contributions from George Harrison, Steve Winwood, Jim Capaldi, Ronnie Wood and Mick Fleetwood.

Lee released his 14th record, Still on the Road to Freedom, in August last year.

Hear new Flaming Lips track ‘Look… The Sun Is Rising’

Uncut
-
0
Hear new Flaming Lips track ‘Look… The Sun Is Rising’
The Flaming Lips have debuted a new track titled "Look... The Sun Is Rising". The song, which will be featured on their forthcoming new album The Terror, is currently streaming at NPR. Previously, the Oklahoma band had released a new track titled 'Sun Blows Up Today', which will appear as a bonus c...

The Flaming Lips have debuted a new track titled “Look… The Sun Is Rising”.

The song, which will be featured on their forthcoming new album The Terror, is currently streaming at NPR. Previously, the Oklahoma band had released a new track titled ‘Sun Blows Up Today’, which will appear as a bonus cut on the LP.

The Terror will be released on April 1 via Bella Union (in the UK) and was produced by Dave Fridmann and the band at Tarbox Road Studios in New York State. The album is described as “nine original compositions that reflect a darker-hued spectrum than previous works along with a more inward-looking lyrical perspective than one might expect – but then again, maybe not”.

Speaking about the LP, Wayne Coyne said: “Why would we make this music that is The Terror – this bleak, disturbing record? I don’t really want to know the answer that I think is coming: that we were hopeless, we were disturbed and, I think, accepting that some things are hopeless. Or letting hope in one area die so that hope can start to live in another? Maybe this is the beginning of the answer.”

The Flaming Lips will also play live in London following the release of The Terror with two London dates announced. They will play:

London, Roundhouse (May 20)

London, Roundhouse (21)

Lou Reed makes surprise appearance at playback celebrating his Transformer album

Uncut
-
0
Lou Reed makes surprise appearance at playback celebrating his Transformer album
Lou Reed astounded a small group of 100 fan who had gathered to celebrate his 1972 album Transformer by making a personal appearance to listen to the album in its entirety. The event, set up by website high50.com, took place on March 4 at New York's Soho House. Reed also took part in a discussion a...

Lou Reed astounded a small group of 100 fan who had gathered to celebrate his 1972 album Transformer by making a personal appearance to listen to the album in its entirety.

The event, set up by website high50.com, took place on March 4 at New York’s Soho House. Reed also took part in a discussion about the album’s content and its wider cultural significance.

Earlier in the evening, photographer Mick Rock, who shot Reed for Transformer’s album cover, read excerpts from his new book – Transformer.

The high50.com New York event follows a number of similar ‘listening clubs’ held across Soho House’s UK branches over the past 18 months, which have included vinyl playbacks of records such as Pink Floyd’s Dark Side Of The Moon and David Bowie’s The Rise And Fall of Ziggy Stardust And The Spiders From Mars.

R.E.M to release Green 25th Anniversary Edition

Uncut
-
0
R.E.M to release Green 25th Anniversary Edition
R.E.M are to release a deluxe, 25th anniversary reissue of Green. The reissue will include a remastered version of the band's 1988 album accompanied by a live live disc taken from a November 10, 1989 show in Greensboro, North Carolina, the penultimate date of the band's Green World Tour. Sleeve not...

R.E.M are to release a deluxe, 25th anniversary reissue of Green.

The reissue will include a remastered version of the band’s 1988 album accompanied by a live live disc taken from a November 10, 1989 show in Greensboro, North Carolina, the penultimate date of the band’s Green World Tour. Sleeve notes will be written by Uncut’s editor, Allan Jones.

Green was R.E.M’s sixth studio album and their first for major label Warners. It includes the breakthrough singles, “Stand” and “Orange Crush”.

Rhino are reportedly releasing the album on May 14 both digitally and on CD, while the remastered album will also be available on 180-gram vinyl.

As well as material from Green, the live disc includes songs like “It’s the End of the World as We Know It (And I Feel Fine)” and “The One I Love,” along side early versions of “Low” and “Belong” which would eventually appear on the follow-up to Green, Out Of Time.

Meanwhile, R.E.M will release a limited edition, five-track EP, Live In Greensboro, on Record Store Day this year. It will contain five songs taken from the same Greensboro show which aren’t included on the Green reissue. Tracks include “I Remember California,” “So. Central Rain” and “Feeling Gravitys Pull”. Each copy will come with a replica R.E.M. patch from the Green Tour.

The full track Listing for the Green 25th Anniversary Edition is:

Disc One – Original Album

1. “Pop Song 89”

2. “Get Up”

3. “You Are The Everything”

4. “Stand”

5. “World Leader Pretend”

6. “The Wrong Child”

7. “Orange Crush”

8. “Turn You Inside Out”

9. “Hairshirt”

10. “I Remember California”

11. “Untitled”

Disc Two – Live In Greensboro 1989

1. “Stand”

2. “The One I Love”

3. “Turn You Inside Out”

4. “Belong”

5. “Exhuming McCarthy”

6. “Good Advices”

7. “Orange Crush”

8. “Cuyahoga”

9. “These Days”

10. “World Leader Pretend”

11. “I Believe”

12. “Get Up”

13. “Life And How To Live It”

14. “Its The End Of The World As We Know It (And I Feel Fine)”

15. “Pop Song 89”

16. “Fall On Me”

17. “You Are The Everything”

18. “Begin The Begin”

19. “Low”

20. “Finest Worksong”

21. “Perfect Circle”

LIVE IN GREENSBORO EP – Record Store Day Exclusive

1. “So. Central Rain (I’m Sorry)”

2. “Feeling Gravitys Pull”

3. “Strange”

4. “King of Birds”

5. “I Remember California”

Endless Boogie – Long Island

Uncut
-
0
Endless Boogie – Long Island

Uber-jams, the Civil War and a great leap-forward... Evolving out of informal jam sessions in late ’90s Brooklyn, Endless Boogie have no image, no Wikipedia page, no careerist long-termism. Instead they have day jobs and a singer who’s 58. At times their free-flowing heavy blues zonk-outs are reminiscent of Green-Kirwan’s Fleetwood Mac stretching out on “Rattlesnake Shake”. Or their grooves can be slow and hypnotic, measured out in an Amon Düül metre. A shorter track (seven minutes rather than 16) will be comparable to ZZ Top, AC/DC or Teenage Head-era Flamin’ Groovies. Not everything the Boogie do is endless. Their acclaimed albums Focus Level (2008) and Full House Head (2010) juxtaposed head-trips, über-jams and lewd riffs that established rhythm guitarist Jesper Eklow as a true heir to Keith Richards. With hindsight, though, there was a danger of their albums becoming formulaic – particularly with regard to Paul Major’s growling vocalisations – and this is something they seem to have been aware of. Long Island is either their third album or their fifth, depending on whether we include a pair of rare vinyl LPs from 2005. But whatever number you attach to it, Long Island is the point where Endless Boogie learn new skills as producers, exploring different guitar textures and vocal tones, and revealing a hidden interest in the power of words. The American Civil War seems to fascinate them, as do names from history. “The Montgomery Manuscript” (a reference to a 17th century Ulster-Scots chronicle) is an abstruse census of Catherines, Margarets and Olivias, ending with Major carefully enunciating the name of Torbjörn Abelli, a Swedish musician who died in 2010. “The Montgomery Manuscript” and “The Artemus Ward” (Artemas [sic] Ward was a general in the American War Of Independence) are deep, meditative pieces which Major narrates rather than sings. The effect of his rich, velvety voice reciting passages of text is quite stunning. “The Artemus Ward” begins with a “signalman” who’s “gone wrong”, which immediately summons up scary images from Dickens’ famous ghost story, filmed by the BBC in the ’70s. Then we’re on a “night train to Wiscasset... lantern’s broken”, and General Sherman shows up with Vice President Aaron Burr, two men who almost certainly never met. It’s like a Mercury Theatre broadcast with half the dialogue missing. “The Montgomery Manuscript”, too, is fantastically bizarre, brooding away for 14 sinister minutes while Major intones name after name and a single piano note is struck again and again. Had Endless Boogie not been restricted to the 80-minute confines of a CD (which Long Island just about squeezes into), “The Montgomery Manuscript” might have lasted indefinitely. Most of the other tracks (there are eight in all) show smaller but still significant changes. “The Savagist”, the 13-minute opener, is a one-chord jam that could have been recorded for Focus Level or Full House Head – except that Major, having exhausted his usual Beefheart-style gruntings and snortings, starts experimenting with the elasticity of his breathing, holding down long groans like Damo Suzuki on “Pinch”. Every so often a noise like a didgeridoo is heard on the right. This is Jesper Eklow operating his wah-wah pedal. Eklow, the boogie in Endless Boogie, is the man whose demon right wrist propels “Taking Out The Trash” and “Imprecations”, fabulously obnoxious stompers. “Imprecations”, especially, is a surging sea of wah-wah and slide: imagine Johnny Winter’s “I’m Yours And I’m Hers” being psychedelically remixed by Loop. Throughout the mammoth Long Island, barely a minute is wasted as Endless Boogie superimpose wild guitars on even wilder ones (“Occult Banker”, “On Cryology”) like Tony McPhee on The Groundhogs’ Split, or go hellbent on punk glory (“General Admission”). At their age, Major and Eklow are unlikely to be dreaming of rock stardom, but Long Island deserves to find a large, appreciative audience. Instead of backing themselves into a corner and remaining an underground name to drop, Boogie have found an exit door into a universe where infinite collisions of music and language now seem feasible. David Cavanagh Q&A Paul Major, aka Top Dollar How did you make the album? “We started last February. Our tactic is to go into the studio and record for four or five hours, and then go through looking for interesting stuff. Everything evolves out of jams. The first track, ‘The Savagist’, is entirely live in the studio.” You have an excellent new vocal style on “The Artemus Ward” and “The Montgomery Manuscript”... “We tried to go for some atmosphere. All those names, like William Tecumseh Sherman and Aaron Burr, come from Jesper [Eklow, guitar], who’s super-knowledgeable about the Civil War. There’s the imagery of the signalman holding a lantern. Then you’re on 14th Street in Manhattan in the late ’70s. These figures from the Civil War start popping up. We’re bringing the ghosts of the past alive.” Jesper is one of the great riff writers and rhythm guitarists in rock’n’roll. It’s incredible to think he wasn’t discovered years ago. “Oh yeah! He’d been in the bands before, but totally for the love of music, not with the ambition of ‘we’re gonna make it’. Jesper’s the core, the focus and the direction of Endless Boogie. I was reading the Neil Young biography Shakey, where he’s talking about Danny Whitten, and he says ‘You’re lucky if you get one guy in your life like this.’ And for me it’s Jesper.” INTERVIEW: DAVID CAVANAGH Photo credit Shawn Brackbill

Uber-jams, the Civil War and a great leap-forward…

Evolving out of informal jam sessions in late ’90s Brooklyn, Endless Boogie have no image, no Wikipedia page, no careerist long-termism. Instead they have day jobs and a singer who’s 58. At times their free-flowing heavy blues zonk-outs are reminiscent of Green-Kirwan’s Fleetwood Mac stretching out on “Rattlesnake Shake”. Or their grooves can be slow and hypnotic, measured out in an Amon Düül metre. A shorter track (seven minutes rather than 16) will be comparable to ZZ Top, AC/DC or Teenage Head-era Flamin’ Groovies. Not everything the Boogie do is endless.

Their acclaimed albums Focus Level (2008) and Full House Head (2010) juxtaposed head-trips, über-jams and lewd riffs that established rhythm guitarist Jesper Eklow as a true heir to Keith Richards. With hindsight, though, there was a danger of their albums becoming formulaic – particularly with regard to Paul Major’s growling vocalisations – and this is something they seem to have been aware of. Long Island is either their third album or their fifth, depending on whether we include a pair of rare vinyl LPs from 2005. But whatever number you attach to it, Long Island is the point where Endless Boogie learn new skills as producers, exploring different guitar textures and vocal tones, and revealing a hidden interest in the power of words. The American Civil War seems to fascinate them, as do names from history. “The Montgomery Manuscript” (a reference to a 17th century Ulster-Scots chronicle) is an abstruse census of Catherines, Margarets and Olivias, ending with Major carefully enunciating the name of Torbjörn Abelli, a Swedish musician who died in 2010.

“The Montgomery Manuscript” and “The Artemus Ward” (Artemas [sic] Ward was a general in the American War Of Independence) are deep, meditative pieces which Major narrates rather than sings. The effect of his rich, velvety voice reciting passages of text is quite stunning. “The Artemus Ward” begins with a “signalman” who’s “gone wrong”, which immediately summons up scary images from Dickens’ famous ghost story, filmed by the BBC in the ’70s. Then we’re on a “night train to Wiscasset… lantern’s broken”, and General Sherman shows up with Vice President Aaron Burr, two men who almost certainly never met. It’s like a Mercury Theatre broadcast with half the dialogue missing. “The Montgomery Manuscript”, too, is fantastically bizarre, brooding away for 14 sinister minutes while Major intones name after name and a single piano note is struck again and again. Had Endless Boogie not been restricted to the 80-minute confines of a CD (which Long Island just about squeezes into), “The Montgomery Manuscript” might have lasted indefinitely.

Most of the other tracks (there are eight in all) show smaller but still significant changes. “The Savagist”, the 13-minute opener, is a one-chord jam that could have been recorded for Focus Level or Full House Head – except that Major, having exhausted his usual Beefheart-style gruntings and snortings, starts experimenting with the elasticity of his breathing, holding down long groans like Damo Suzuki on “Pinch”. Every so often a noise like a didgeridoo is heard on the right. This is Jesper Eklow operating his wah-wah pedal. Eklow, the boogie in Endless Boogie, is the man whose demon right wrist propels “Taking Out The Trash” and “Imprecations”, fabulously obnoxious stompers. “Imprecations”, especially, is a surging sea of wah-wah and slide: imagine Johnny Winter’s “I’m Yours And I’m Hers” being psychedelically remixed by Loop. Throughout the mammoth Long Island, barely a minute is wasted as Endless Boogie superimpose wild guitars on even wilder ones (“Occult Banker”, “On Cryology”) like Tony McPhee on The Groundhogs’ Split, or go hellbent on punk glory (“General Admission”).

At their age, Major and Eklow are unlikely to be dreaming of rock stardom, but Long Island deserves to find a large, appreciative audience. Instead of backing themselves into a corner and remaining an underground name to drop, Boogie have found an exit door into a universe where infinite collisions of music and language now seem feasible.

David Cavanagh

Q&A

Paul Major, aka Top Dollar

How did you make the album?

“We started last February. Our tactic is to go into the studio and record for four or five hours, and then go through looking for interesting stuff. Everything evolves out of jams. The first track, ‘The Savagist’, is entirely live in the studio.”

You have an excellent new vocal style on “The Artemus Ward” and “The Montgomery Manuscript”…

“We tried to go for some atmosphere. All those names, like William Tecumseh Sherman and Aaron Burr, come from Jesper [Eklow, guitar], who’s super-knowledgeable about the Civil War. There’s the imagery of the signalman holding a lantern. Then you’re on 14th Street in Manhattan in the late ’70s. These figures from the Civil War start popping up. We’re bringing the ghosts of the past alive.”

Jesper is one of the great riff writers and rhythm guitarists in rock’n’roll. It’s incredible to think he wasn’t discovered years ago.

“Oh yeah! He’d been in the bands before, but totally for the love of music, not with the ambition of ‘we’re gonna make it’. Jesper’s the core, the focus and the direction of Endless Boogie. I was reading the Neil Young biography Shakey, where he’s talking about Danny Whitten, and he says ‘You’re lucky if you get one guy in your life like this.’ And for me it’s Jesper.”

INTERVIEW: DAVID CAVANAGH

Photo credit Shawn Brackbill

The Tenth Uncut Playlist Of 2013

John Mulvey
-
0
The Tenth Uncut Playlist Of 2013

Maybe not as much here as some weeks, thanks I guess to the Daft Punk loop that I’ve been playing for at least an hour a day. Try it… Follow me on Twitter: www.twitter.com/JohnRMulvey 1 David Bowie – The Next Day (ISO/RCA) 2 Natalie Prass – Plunder (www.natalieprass.com) http://www.youtube.com/watch?v=4OuVUQIE3gM 3 Van Dyke Parks – Songs Cycled (Bella Union) 4 Mark Lanegan & Duke Garwood – Black Pudding (Heavenly) 5 Daft Punk – SNL Ad Extended 10 Hours http://www.youtube.com/watch?v=tui85fmQwb8 6 Various Artists – Down Under Nuggets (Festival) 7 Old New Things – Ghosts (www.oldnewthings.bandcamp.com) 8 The Black Crowes – Tonight I'll Be Staying Here With You (www.rollingstone.com) 9 Sam Amidon – Bright Sunny South (Nonesuch) 10 Arborea – Fortress Of The Sun (ESP-Disk) 11 Steve Gunn – Time Off (Paradise Of Bachelors) 12 Four Tet – Rounds (Domino) 13 Bombino – Nomad (Nonesuch 14 Eleanor Friedberger – Stare At The Sun (Merge) 15 Lawrence English – Lonely Women’s Club (Important) 16 Various Artists - The Source Family OST (Drag City)

Maybe not as much here as some weeks, thanks I guess to the Daft Punk loop that I’ve been playing for at least an hour a day. Try it…

Follow me on Twitter: www.twitter.com/JohnRMulvey

1 David Bowie – The Next Day (ISO/RCA)

2 Natalie Prass – Plunder (www.natalieprass.com)

3 Van Dyke Parks – Songs Cycled (Bella Union)

4 Mark Lanegan & Duke Garwood – Black Pudding (Heavenly)

5 Daft Punk – SNL Ad Extended 10 Hours

http://www.youtube.com/watch?v=tui85fmQwb8

6 Various Artists – Down Under Nuggets (Festival)

7 Old New Things – Ghosts (www.oldnewthings.bandcamp.com)

8 The Black Crowes – Tonight I’ll Be Staying Here With You (www.rollingstone.com)

9 Sam Amidon – Bright Sunny South (Nonesuch)

10 Arborea – Fortress Of The Sun (ESP-Disk)

11 Steve Gunn – Time Off (Paradise Of Bachelors)

12 Four Tet – Rounds (Domino)

13 Bombino – Nomad (Nonesuch

14 Eleanor Friedberger – Stare At The Sun (Merge)

15 Lawrence English – Lonely Women’s Club (Important)

16 Various Artists – The Source Family OST (Drag City)

My Bloody Valentine announce European festival appearance

Uncut
-
0
My Bloody Valentine announce European festival appearance
My Bloody Valentine will play this year’s Off Festival. Off Festival will take place in Katowice, Poland, between August 2 and 4. My Bloody Valentine, who will play on August 4, are the only band so far announced on the website. Tickets are 150 zł (£31.38) or 190 zł (£39.75) including a c...

My Bloody Valentine will play this year’s Off Festival.

Off Festival will take place in Katowice, Poland, between August 2 and 4. My Bloody Valentine, who will play on August 4, are the only band so far announced on the website.

Tickets are 150 zł (£31.38) or 190 zł (£39.75) including a camping pass.

Off is the fourth festival appearance so far announced by the band for this year. They are confirmed for the Tokyo Rocks Festival on May 11, Barcelona’s Primavera Festival in May 25 and Berlin Festival on September 7.

On Friday March 8, My Bloody Valentine will start a four-show tour of the UK in support of their new album mbv, including a two-night residency at London’s Hammersmith Apollo.

My Bloody Valentine’s upcoming schedule looks like this:

March 8, Birmingham – O2 Academy

March 9, Glasgow – Barrowlands

March 10, Manchester – Apollo

March 12, London – Hammersmith Apollo

March 13, London – Hammersmith Apollo

May 11, Tokyo – Tokyo Rocks Festival

May 25, Barcelona – Primavera Festival

August 4, Katowice, Poland – OFF Festival

September 7, Berlin – Berlin Festival

More acts announced for the Uncut Stage at this year’s Great Escape

Uncut
-
0
More acts announced for the Uncut Stage at this year’s Great Escape

Five more acts have been confirmed for the Uncut Stage at this year's Great Escape festival. Lord Huron, Mikal Cronin, Woods [pictured], The Strypes, White Fence will be playing the Uncut Stage - along with the Allah-las and Phosphorescent, who have already been confirmed. In addition, over 100 new acts have also been added to the Brighton festival including Billy Bragg, Parquet Corts and Mazes. Bragg’s show, held at the Brighton Dome, will be a separate ticket discounted for Great Escape attendees “With my new band and new sounding record,” said Bragg, “I feel as excited now as I did when my first album 'Life's A Riot with Spy vs Spy' came out all those years ago, so it's brilliant to be invited to play at The Great Escape alongside such a great roster of new acts. I'm really looking forward to coming back to the Brighton Dome too - I've always had such a brilliant time there." The festival takes place between May 16 and 18. Early Bird tickets cost £45 and are available at http://mamacolive.com/thegreatescape/ The first batch of bands to be announced included Unknown Mortal Orchestra, King Krule and Chvrches. A Tribe Called Red Aa Wallace Andy Shauf Arcane Roots Atlas Genius Babe The Balconies Beach Fossils Big Wave Riders Billy Bragg Blue Hawaii Brooke Candy Cairo Pythian Cairo Knife Fight Catfish and the Bottlemen [Champagne] Concrete Knives Daniel Drumz Deep Sea Arcade Diane Diiv The Eighties Matchbox B-line Disaster Elisapie Eye Emma Jedi Farao Fimber Bravo Findlay Girls in Hawaii Golden Fable Hacktivist Highasakite Houndmouth The Hounds Below Husky Rescue Iggy Azalea Indiana Is Tropical Jackie Onassis Jagwar Ma Jenny Hval Joe Banfi Kamp! Kimberly Anne Kins Little Green Cars London Grammar Lord Huron Lostalone Lowell Marika Hackman Mausi Mazes Mel Parsons The Midnight Beast Mikal Cronin Mo Kenney Monophona Mutiny on the Bounty Murder by Death Murmansk Only Real Owlle Parlour Parquet Courts Phantom Pinkunoizu Plaster Rah Rah Rebekka Karijord Rubik Ruen Brothers Saint Michel Sarah Macdougall Say Yes Dog Sharks Stevie Neale Story Books Susanne SundfØr Syron Tall Ships Temples Dancing Years The Elwins The Griswolds The Other Tribe The Strypes Three Trapped Tigers Thumpers Toddla T Sound Tripwires Troumaca Unno Warm Myth White Fence Woods Yan Wagner Your Favourite Enemies

Five more acts have been confirmed for the Uncut Stage at this year’s Great Escape festival.

Lord Huron, Mikal Cronin, Woods [pictured], The Strypes, White Fence will be playing the Uncut Stage – along with the Allah-las and Phosphorescent, who have already been confirmed.

In addition, over 100 new acts have also been added to the Brighton festival including Billy Bragg, Parquet Corts and Mazes. Bragg’s show, held at the Brighton Dome, will be a separate ticket discounted for Great Escape attendees

“With my new band and new sounding record,” said Bragg, “I feel as excited now as I did when my first album ‘Life’s A Riot with Spy vs Spy’ came out all those years ago, so it’s brilliant to be invited to play at The Great Escape alongside such a great roster of new acts. I’m really looking forward to coming back to the Brighton Dome too – I’ve always had such a brilliant time there.”

The festival takes place between May 16 and 18. Early Bird tickets cost £45 and are available at http://mamacolive.com/thegreatescape/

The first batch of bands to be announced included Unknown Mortal Orchestra, King Krule and Chvrches.

A Tribe Called Red

Aa Wallace

Andy Shauf

Arcane Roots

Atlas Genius

Babe

The Balconies

Beach Fossils

Big Wave Riders

Billy Bragg

Blue Hawaii

Brooke Candy

Cairo Pythian

Cairo Knife Fight

Catfish and the Bottlemen

[Champagne]

Concrete Knives

Daniel Drumz

Deep Sea Arcade

Diane

Diiv

The Eighties Matchbox B-line Disaster

Elisapie

Eye Emma Jedi

Farao

Fimber Bravo

Findlay

Girls in Hawaii

Golden Fable

Hacktivist

Highasakite

Houndmouth

The Hounds Below

Husky Rescue

Iggy Azalea Indiana

Is Tropical

Jackie Onassis

Jagwar Ma

Jenny Hval

Joe Banfi

Kamp!

Kimberly Anne

Kins

Little Green Cars

London Grammar

Lord Huron

Lostalone

Lowell

Marika Hackman

Mausi

Mazes

Mel Parsons

The Midnight Beast

Mikal Cronin

Mo Kenney

Monophona

Mutiny on the Bounty

Murder by Death

Murmansk

Only Real

Owlle

Parlour

Parquet Courts

Phantom

Pinkunoizu

Plaster

Rah Rah

Rebekka Karijord

Rubik

Ruen Brothers

Saint Michel

Sarah Macdougall

Say Yes Dog

Sharks

Stevie Neale

Story Books

Susanne SundfØr

Syron

Tall Ships

Temples

Dancing Years

The Elwins

The Griswolds

The Other Tribe

The Strypes

Three Trapped Tigers

Thumpers

Toddla T Sound

Tripwires

Troumaca

Unno

Warm Myth

White Fence

Woods

Yan Wagner

Your Favourite Enemies

Iggy And The Stooges debut new single ‘Burn’ – listen

Uncut
-
0
Iggy And The Stooges debut new single ‘Burn’ – listen
Iggy And The Stooges have debuted their new single 'Burn'. The track, which will feature on the band's forthcoming new album 'Ready To Die', is currently streaming on Soundcloud. You can also find it below. 'Ready To Die' will be the band's first studio collection since 2007's 'The Weirdness' and...

Iggy And The Stooges have debuted their new single ‘Burn’.

The track, which will feature on the band’s forthcoming new album ‘Ready To Die’, is currently streaming on Soundcloud. You can also find it below.

‘Ready To Die’ will be the band’s first studio collection since 2007’s ‘The Weirdness’ and the first album of all-new material featuring Iggy Pop, guitarist James Williamson and drummer Scott Asheton since 1973’s classic ‘Raw Power’. Mike Watt fills in for the late Ron Asheton on bass.

Explaining his decision to make another Iggy And The Stooges album in 2013, Iggy Pop said recently: “My motivation in making any record with the group at this point is no longer personal. It’s just a pig-headed fucking thing I have that a real fucking group when they’re an older group, they also make fucking records. They don’t just go and twiddle around on stage to make a bunch of fucking money…”.

In addition to ‘Burn’, tracks confirmed to appear will include ‘Burn’, ‘Job’, ‘Sex & Money’ and the title track ‘Ready To Die’. The album was produced by guitarist Williamson at Fantasy Studios in San Francisco, though Iggy Pop recorded his vocals in Miami.

Iggy And The Stooges will support the album by embarking on a “live assault”. Tour dates are to be announced shortly.

The Replacements are back! Uncut rejoices!

Uncut
-
0
The Replacements are back! Uncut rejoices!

The world and nearly everyone in it has been reduced to trembling excitement by the return of David Bowie, but for some of us there is another recent resurrection perhaps even more miraculous and just as unexpected, a comeback by The Replacements, who today release online the Songs For Slim EP, their first new recordings in more than 20 years. A bunch of rowdy, reckless delinquents inspired by punk, fuelled by a legendary intake of drugs and alcohol, and led by Paul Westerberg, the raw-voiced laureate of pre-grunge teenage nihilism, The Replacements were part of the Minneapolis scene that also spawned Husker Du and in the early-80s they held the line against a floodtide of mind-numbing heavy metal and flatulent, air-brushed AOR, buying time for the assembling shock troops of hardcore and the grunge battalions who followed. Nearly a decade before Kurt Cobain and Eddie Vedder gave urgent voice to the desolation and frustration of America’s disenfranchised youth, Westerberg’s songs described a landscape of apathy, frustration and suffocating aimlessness. The world his songs evoked was a bad place to be if you were young and angry, butting heads with authority, the hassling demands of parents, teachers and the law. By rights The Replacements should have been what REM became with Green and Nirvana and Pearl Jam became with Nevermind and Ten. They came closest to mainstream success with 1987’s Pleased To Meet Me, but their own appetite for destruction was their eventual undoing and by 1990’s All Shook Down – a brilliant but unnervingly bleak and wasted epitaph, original called Dead Man’s Pop – it was all over for them. Westerberg went on to an erratic, sometimes inspired solo career, bassist Tommy Stinson fetched up in Guns N’Roses, drummer Chris Marrs retired from music and became a successful artist. Guitarist Slim Dunlap toured with ex-Georgia Satellites lead singer Dan Baird and recorded a couple of solo albums, The Old New Me (1992) and Time Like This (1996) before dropping out of view. Their influence was profound on the roots rockers, specialists in orphaned and any number of uppity young outsider brats with loud guitars, attitude to spare and a taste for wayward behaviour who followed them, and there's been a regular clamour since they split among die-hard fans for them to get back together. A world without them and the racket they made has on the whole not been as great as a world with them in it, making the noise that made them unforgettable. Westerberg has for just as long resisted, sometimes morosely, the idea of a reunion, but recent circumstances have evidently contributed to at least a temporary change of heart. As previously reported in Uncut, in February 2012 Slim Dunlap suffered a major stroke that left him hospitalised for nine months and in need of 24-hour care for the rest of his life. As part of a project called Songs For Slim, intended to raise money to pay Dunlap’s on-going medical expenses, Westerberg and Stinson went into the studio last September with drummer Peter Anderson and guitarist Kevin Bone, to record for the first time in two decades as The Replacements. The results of the sessions were first released as a limited edition of 250 vinyl copies last December and auditioned online, the run reportedly selling out for over 100,000 dollars, and from today you can buy a digital copy, a 12 inch vinyl version following, on April 16. I’m listening to it now and on it you can hear a lot of the things that made The Replacements so great. It starts with a cover of Dunlap’s “Busted Up” that brings to mind the raw stomp of the Stones’ “Can I Get A Witness”, Westerberg whooping it up over a thunderous Bo Diddley backbeat and demented bar room piano, the thing ending with a rupturing guitar solo, cruelly cut off just as it sounds like it’s going to cut loose completely, a wicked tease. Chris Marrs declined the invitation to join Westerberg and Stinson in the studio and instead contributes a version of another Dunlap song, Radio Hook Word, on which he plays all the instruments, sings and produces. The results are a raucous gas. There are three more covers. An unlikely cover of Gordon Lightfoot’s “I’m Not Sayin’” is resplendent with the flavour of umpteen Replacements’ classics of yore, while Leon Payne’s venerable “Lost Highway”, most commonly associated with Hank Williams, sounds like it could have come from Westerberg’s great 2003 solo album, Come Feel Me Tremble, with some sensational guitar rowdiness. The EP closes out with the kind of jazzy show tune that Westerberg has always had a fondness for, a version of “Everything’s Coming Up Roses” from the Broadway musical Gypsy, which is both hilarious and touching. Will this lead to a full-blown Replacements reunion? It’s predictably up in the air. Stinson sounds keen to keep things going, but Westerberg typically has yet to make up his mind. We live, meanwhile, in hope. For more information and future Songs For Slim releases by Lucinda Williams, Steve Earle, Craig Finn, Deer Tick and Frank Black go to songforslim.com. Have a great week. Allan

The world and nearly everyone in it has been reduced to trembling excitement by the return of David Bowie, but for some of us there is another recent resurrection perhaps even more miraculous and just as unexpected, a comeback by The Replacements, who today release online the Songs For Slim EP, their first new recordings in more than 20 years.

A bunch of rowdy, reckless delinquents inspired by punk, fuelled by a legendary intake of drugs and alcohol, and led by Paul Westerberg, the raw-voiced laureate of pre-grunge teenage nihilism, The Replacements were part of the Minneapolis scene that also spawned Husker Du and in the early-80s they held the line against a floodtide of mind-numbing heavy metal and flatulent, air-brushed AOR, buying time for the assembling shock troops of hardcore and the grunge battalions who followed.

Nearly a decade before Kurt Cobain and Eddie Vedder gave urgent voice to the desolation and frustration of America’s disenfranchised youth, Westerberg’s songs described a landscape of apathy, frustration and suffocating aimlessness. The world his songs evoked was a bad place to be if you were young and angry, butting heads with authority, the hassling demands of parents, teachers and the law. By rights The Replacements should have been what REM became with Green and Nirvana and Pearl Jam became with Nevermind and Ten.

They came closest to mainstream success with 1987’s Pleased To Meet Me, but their own appetite for destruction was their eventual undoing and by 1990’s All Shook Down – a brilliant but unnervingly bleak and wasted epitaph, original called Dead Man’s Pop – it was all over for them. Westerberg went on to an erratic, sometimes inspired solo career, bassist Tommy Stinson fetched up in Guns N’Roses, drummer Chris Marrs retired from music and became a successful artist. Guitarist Slim Dunlap toured with ex-Georgia Satellites lead singer Dan Baird and recorded a couple of solo albums, The Old New Me (1992) and Time Like This (1996) before dropping out of view.

Their influence was profound on the roots rockers, specialists in orphaned and any number of uppity young outsider brats with loud guitars, attitude to spare and a taste for wayward behaviour who followed them, and there’s been a regular clamour since they split among die-hard fans for them to get back together. A world without them and the racket they made has on the whole not been as great as a world with them in it, making the noise that made them unforgettable. Westerberg has for just as long resisted, sometimes morosely, the idea of a reunion, but recent circumstances have evidently contributed to at least a temporary change of heart.

As previously reported in Uncut, in February 2012 Slim Dunlap suffered a major stroke that left him hospitalised for nine months and in need of 24-hour care for the rest of his life. As part of a project called Songs For Slim, intended to raise money to pay Dunlap’s on-going medical expenses, Westerberg and Stinson went into the studio last September with drummer Peter Anderson and guitarist Kevin Bone, to record for the first time in two decades as The Replacements. The results of the sessions were first released as a limited edition of 250 vinyl copies last December and auditioned online, the run reportedly selling out for over 100,000 dollars, and from today you can buy a digital copy, a 12 inch vinyl version following, on April 16.

I’m listening to it now and on it you can hear a lot of the things that made The Replacements so great. It starts with a cover of Dunlap’s “Busted Up” that brings to mind the raw stomp of the Stones’ “Can I Get A Witness”, Westerberg whooping it up over a thunderous Bo Diddley backbeat and demented bar room piano, the thing ending with a rupturing guitar solo, cruelly cut off just as it sounds like it’s going to cut loose completely, a wicked tease. Chris Marrs declined the invitation to join Westerberg and Stinson in the studio and instead contributes a version of another Dunlap song, Radio Hook Word, on which he plays all the instruments, sings and produces. The results are a raucous gas. There are three more covers. An unlikely cover of Gordon Lightfoot’s “I’m Not Sayin’” is resplendent with the flavour of umpteen Replacements’ classics of yore, while Leon Payne’s venerable “Lost Highway”, most commonly associated with Hank Williams, sounds like it could have come from Westerberg’s great 2003 solo album, Come Feel Me Tremble, with some sensational guitar rowdiness. The EP closes out with the kind of jazzy show tune that Westerberg has always had a fondness for, a version of “Everything’s Coming Up Roses” from the Broadway musical Gypsy, which is both hilarious and touching.

Will this lead to a full-blown Replacements reunion? It’s predictably up in the air. Stinson sounds keen to keep things going, but Westerberg typically has yet to make up his mind. We live, meanwhile, in hope.

For more information and future Songs For Slim releases by Lucinda Williams, Steve Earle, Craig Finn, Deer Tick and Frank Black go to songforslim.com.

Have a great week.

Allan

Suede debut material from new album ‘Bloodsports’ at tiny London Barfly show

Uncut
-
0
Suede debut material from new album ‘Bloodsports’ at tiny London Barfly show
Suede played an intimate show at Camden's 200-capacity Barfly venue last night (March 4) to raise money for War Child. The Britpop quintet, who reunited in 2010 following a seven-year hiatus, played a 90-minute set for XFM showcasing a number of hits as well as debuting cuts from forthcoming sixth ...

Suede played an intimate show at Camden’s 200-capacity Barfly venue last night (March 4) to raise money for War Child.

The Britpop quintet, who reunited in 2010 following a seven-year hiatus, played a 90-minute set for XFM showcasing a number of hits as well as debuting cuts from forthcoming sixth album, ‘Bloodsports’.

Entering to the keyboard strains of current single ‘Barriers’, the band – all dressed in black save for singer Brett Anderson – then segued into anthemic album track ‘Hit Me’ before moving into a hit-packed portion of old classics including ‘Trash’ and ‘Animal Nitrate’, with Anderson climbing on the monitors and leaning out into the heaving crowd.

Suede then showcased a further selection of new tracks including sweeping ballad ‘For The Strangers’ and ‘Sabotage’ before continuing with an array of older material. Previous B-sides ‘Killing Of A Flashboy’ and ‘My Insatiable One’ both received an airing to the delight of the crowd, who sang large portions of the latter as Anderson held the microphone into the crowd. They finished the set with ‘New Generation’ and a huge singalong of ‘Beautiful Ones’ before exiting the stage with no encore.

Speaking at the NME Awards last week, Anderson was in high spirits about the show, enthusing that, “Any performer loves playing small gigs – there’s something really great about that intimacy and that contact. I miss it really. A band like Suede are very much about contact; I love being able to see people’s expressions. It’s really important for me to be tactile at shows, it flows much more easily for me.”

Suede are set to release ‘Bloodsports’ on March 18 before playing London’s Alexandra Palace on March 30 with support from Spector and Radar favourites Temples.

Suede played:

‘Barriers’

‘Hit Me’

‘Filmstar’

‘Animal Nitrate’

‘Trash’

‘Killing Of A Flashboy’

‘He’s Dead’

‘For The Strangers’

‘It Starts And Ends With You’

‘The Drowners’

‘My Insatiable One’

‘Sabotage’

‘Can’t Get Enough’

‘Everything Will Flow’

‘So Young’

‘Metal Mickey’

‘Heroine’

‘New Generation’

“Beautiful Ones’

Radiohead’s Jonny Greenwood plays surprise and intimate Australian gig – watch

Uncut
-
0
Radiohead’s Jonny Greenwood plays surprise and intimate Australian gig – watch

Radiohead's Jonny Greenwood was a surprise guest at an intimate Australian gig last week (March 1) - scroll down to the bottom of the page and click to watch. The guitarist joined the ACO Underground (Australian Chamber Orchestra) for their show in a loft apartment in Sydney, where he performed a cover of American composer Steve Reich's piece 'Electric Counterpoint'. ACO Underground founder Satu Vänskä said to Moshcam: "He [Greenwood] happened to be in town and we asked him if he would like to play. I don't think people will ever get to see Jonny Greenwood play a Steve Reich piece in such an intimate setting." In March last year, Greenwood scored his first Top 10 album in the Official Specialist Classical Chart, with his collaboration with Polish composer Krzysztof Penderecki. The side-project, which was entitled Threnody For The Victims Of Hiroshima/Popcorn Superhet Receiver/Polymorphia/48 Responses To Polymorphia, consists of two pieces by Penderecki and two by Greenwood including 'Popcorn Superhet Receiver', which featured in the guitarist's film score for There Will Be Blood. Meanwhile, Jonny's brother, Radiohead bassist Colin Greenwood, claimed last month that the band would regroup to work on their new album at the end of this summer. They released their eighth album, The King Of Limbs, in 2011, although frontman Thom Yorke's supergroup Atoms For Peace released their debut LP 'Amok' last week and saw the record chart at Number Five in the Official UK Albums Chart on Sunday (March 3). http://www.youtube.com/watch?v=aMWkUB8eGu0

Radiohead’s Jonny Greenwood was a surprise guest at an intimate Australian gig last week (March 1) – scroll down to the bottom of the page and click to watch.

The guitarist joined the ACO Underground (Australian Chamber Orchestra) for their show in a loft apartment in Sydney, where he performed a cover of American composer Steve Reich’s piece ‘Electric Counterpoint’.

ACO Underground founder Satu Vänskä said to Moshcam: “He [Greenwood] happened to be in town and we asked him if he would like to play. I don’t think people will ever get to see Jonny Greenwood play a Steve Reich piece in such an intimate setting.”

In March last year, Greenwood scored his first Top 10 album in the Official Specialist Classical Chart, with his collaboration with Polish composer Krzysztof Penderecki. The side-project, which was entitled Threnody For The Victims Of Hiroshima/Popcorn Superhet Receiver/Polymorphia/48 Responses To Polymorphia, consists of two pieces by Penderecki and two by Greenwood including ‘Popcorn Superhet Receiver’, which featured in the guitarist’s film score for There Will Be Blood.

Meanwhile, Jonny’s brother, Radiohead bassist Colin Greenwood, claimed last month that the band would regroup to work on their new album at the end of this summer. They released their eighth album, The King Of Limbs, in 2011, although frontman Thom Yorke’s supergroup Atoms For Peace released their debut LP ‘Amok’ last week and saw the record chart at Number Five in the Official UK Albums Chart on Sunday (March 3).

Bruce Springsteen announced for Hard Rock Calling 2013

Uncut
-
0
Bruce Springsteen announced for Hard Rock Calling 2013
Bruce Springsteen and The E Street Band have announced they will play this year's Hard Rock Calling. The band will headline the event on Sunday June 30. The bill will also include the Black Crows and Alabama Shakes. The festival will take place at the Olympic Park in east London. Tickets will be a...

Bruce Springsteen and The E Street Band have announced they will play this year’s Hard Rock Calling. The band will headline the event on Sunday June 30.

The bill will also include the Black Crows and Alabama Shakes.

The festival will take place at the Olympic Park in east London. Tickets will be available at www.hardrockcalling.co.uk starting this Friday (March 8) at 9 am. Kasabian will headline the Saturday, June 29 bill at the Hard Rock Calling, with special guest, Paul Weller.

Springsteen was recently announced as the inaugural performer at the brand new Leeds arena on July 24.

The 2013 European leg of Springsteen’s Wrecking Ball tour now looks like this:

April 29, Oslo – Telenor Arena (sold out)

April 30, Oslo – Telenor Arena (sold out)

May 3, Stockholm – Friends Arena (sold out)

May 4, Stockholm – Friends Arena (sold out)

May 7, Turku, Finland – HK Areena

May 8, Turku, Finland – HK Areena

May 11, Stockholm – Friends Arena (sold out)

May 14, Copenhagen – Parken

May 16, Herning, Denmark – Jyske Bank Boxen (sold out)

May 23, Naples – Piazza Plabiscito

May 26, Munich – Olympiastadion

May 28, Hannover – AWD Arena

May 31, Padova, Italy – Stadio Euganeo

June 3, Milan, Stadio San Siro

June 15, London – Wembly Stadium

June 18, Glasgow – Hampden Park

June 20, Coventry, England – Ricoh Arena

June 22, Nijmegen, Netherlands – Goffertpark

June 26, Gijon, Spain – El Molino’ n

June 29, Paris – Stade de France

June 30, London – Hard Rock Calling

July 3, Geneva – Stade de Geneve

July 5, Monchengladbach, Germany – Borussia Park

July 7, Leipzig, Germany – Red Bull Arena

July 11, Rome – Rock In Roma

July 23, Werchter, Belgium – Rock Werchter

July 16, Limerick, Ireland – Thomond Park

July 18, Cork, Ireland – Pairc Ui Chaoimh

July 20, Belfast – King’s Hall

July 23, Cardiff, Wales – Millennium Stadium

July 24, Leeds, UK – Leeds Arena

July 27, Kilkenny, Ireland – Nowlan Park

July 28, Kilkenny, Ireland – Nowlan Park

Neil Young & Crazy Horse add dates to UK tour

Uncut
-
0
Neil Young & Crazy Horse add dates to UK tour
Neil Young & Crazy Horse have added two dates to their upcoming UK tour. The band will now play Liverpool Echo Arena on August 18 and London O2 Arena on August 19. This is in addition to previously announced shows at Newcastle Metro Radio Arena on June 10, Birmingham LG Arena on June 11 and so...

Neil Young & Crazy Horse have added two dates to their upcoming UK tour.

The band will now play Liverpool Echo Arena on August 18 and London O2 Arena on August 19.

This is in addition to previously announced shows at Newcastle Metro Radio Arena on June 10, Birmingham LG Arena on June 11 and sold out shows at Glasgow SECC (June 13) and London O2 Arena (June 17). Los Lobos will support at all shows and tickets are on sale now.

They will be Young’s first UK gigs with the Crazy Horse line-up of Frank ‘Poncho’ Sampedro, Billy Talbot and Ralph Molina since 2001.

Neil Young & Crazy Horse released two albums last year: ‘Americana’ and ‘Psychedelic Pill’.

Neil Young & Crazy Horse will play:

Newcastle Metro Radio Arena (June 10)

Birmingham LG Arena (11)

Glasgow SECC (13)

London O2 Arena (17)

Liverpool Echo Arena (August 18)

London O2 Arena (19)

Who’s That Man – A Tribute To Conny Plank

Uncut
-
0
Who’s That Man – A Tribute To Conny Plank

Four-CD box set honours the great Krautrock producer and collaborator... When Conny Plank is credited as the man that produced the lion’s share of great experimental German music between the years of 1969 and 1980, it may yet be selling him short. Plank, like but a few production greats – Joe Meek, George Martin, Phil Spector, Martin Hannett – wasn’t just a talented studio hand: he was a collaborator, and sometimes, an architect. Krautrock as we know it would likely not exist without him. A bear of a man from Hütschenhausen, West Germany, Plank began his career as soundman for an icon of the old Germany, fading Weimar starlet Marlene Dietrich. His enthusiasm for early electronic music drew him to Cologne’s new music community, where he worked as assistant to Stockhausen. But Plank soon tired of the classical avant-garde, which he deemed stuffy and lifeless. It was in the burgeoning West German musical counterculture that he would find those closer to his artistic temperament - emergent groups such as Kraftwerk, Neu!, and Cluster. Enamoured by the possibilities of sampling and multi-track recording, it was Plank’s technical know-how that helped bring many of Krautrock’s most revolutionary records into existence. He didn’t make groups sound ‘the Conny Plank way’, or strive to capture their live sound. Instead, he explained his role as “a medium”, and helped bands to find ways to bring their ideas to life through a fusion of technology and frenzied experimentation. In an interview published in 1987, the year of his death from cancer, he summed up his philosophy with admirable brevity: “Craziness is holy.” Such legacies can be difficult to summarise, although Who’s That Man - a four-CD box honouring Plank’s career - makes a noble attempt. There are inevitable, but still painful omissions. Plank worked with Ralph Hütter and Florian Schneider for five years, starting with the 1969 album Tone Float by the proto-Kraftwerk group Organisation, and finishing with their first masterpiece, 1974’s Autobahn. None of that, of course, appears here. Instead, the first two CDs are, while something of a curate’s egg, at least faithful to the breadth of Plank’s vision: a mix of canonical Krautrock cuts, collaborations, oddities and rarities seemingly chosen because they bear clear traces of the mad scientist’s fingerprints. The two Neu! tracks here speed out to the duo’s polar reaches. “Negativland” builds from the hammer of pneumatic drills, Klaus Dinger’s motorik drums circling Michael Rother’s cosmic guitar in a fearful orbit. “Leb’ Wohl”, meanwhile, strikes a note of new-age meditation, Dinger bidding a tearful auf wiedersehen over the gentle crash of waves. A number of collaborations with Cluster’s Dieter Moebius showcases the pair’s playful studiocraft – from the proto-techno of 1982’s “Pitch Control”, recorded with Guru Guru drummer Mani Neumeier, to “Farmer Gabriel”, a bizarre tale of chicken slaughter narrated by the Red Krayola’s Mayo Thompson. One fan of Cluster’s early work was Brian Eno, who travelled to Plank’s studio in June 1977 to record with Moebius and Rodelius - and, one suspects, to pick up a few tricks in the process. Included here is “Broken Head”, a surrealistic highlight from 1978’s collaborative After The Heat. Less interesting are the proggier selections: the interminable 14 minutes of Ibliss’ jazzy, saxophone-heavy “Drops”, and Streetmark’s misfiring cover of “Eleanor Rigby”. But Eurythmics’ “Le Sinistre”, originally a B-side to the group’s 1981 single “Never Gonna Cry Again”, cloaks Annie Lennox’s voice in the sonic tropes of horror cinema, while two tracks by electro-industrial duo D.A.F suggest that for all Plank’s association with Krautrock, he continued to innovate well into the post-punk ‘80s. The third disc passes Plank productions over to a team of remixers, who with the honourable exception of Boredoms’ Yamataka Eye – who turns in a psychedelic mangling of Neu!’s “Fur Immer” – add little but height to the European Remix Mountain. The final disc unearths a performance by the trio of Plank, Moebius and Arno Steffen, recorded in Mexico, 1986. A strange soup of Arp and Oberheim synthesisers, blasts of trumpet, primitive techno and occasional enthusiastic yodelling, it is 80 minutes of pure invention, at times sublime and at times ridiculous. But, then, as Conny Plank might have put it, craziness is next to Godliness. Louis Pattison Q&A Dieter Moebius, Cluster How was it to work with Conny? With us, he was a collaborator – a co-musician, in a way. When he got his own studio, he bought all kinds of new things that we couldn’t afford – we could use his synthesisers, all the new gadgets. The studio was a big stall in a farmhouse - a stable, where pigs were kept. But he changed it totally. It didn’t smell anymore! We would make tape loops, stretching tape all around the room, 20 metres long, and sample things from the radio. But he was happy to remain in the background? He was very modest. But he was also very sure of what he wanted to do. He recorded a lot of things that were not his kind of music, because he liked the people. But he could have produced U2 when they started out, and he didn’t. I don’t know why – perhaps he didn’t like the guy… A show from Mexico in 1986 is included in the box. How did that tour come about? We were invited by the Goethe institute, a German cultural organisation, who paid for it all. The word travelled fast, and the shows got bigger and bigger as we went. We played in some countries where rock’n’roll was not allowed – in Chile, for example, where Pinochet was terrorising his people. For some, it was like finally – we can go to a rock show. It was Conny’s last and only tour – for him, this was unique. INTERVIEW: LOUIS PATTISON

Four-CD box set honours the great Krautrock producer and collaborator…

When Conny Plank is credited as the man that produced the lion’s share of great experimental German music between the years of 1969 and 1980, it may yet be selling him short. Plank, like but a few production greats – Joe Meek, George Martin, Phil Spector, Martin Hannett – wasn’t just a talented studio hand: he was a collaborator, and sometimes, an architect. Krautrock as we know it would likely not exist without him.

A bear of a man from Hütschenhausen, West Germany, Plank began his career as soundman for an icon of the old Germany, fading Weimar starlet Marlene Dietrich. His enthusiasm for early electronic music drew him to Cologne’s new music community, where he worked as assistant to Stockhausen. But Plank soon tired of the classical avant-garde, which he deemed stuffy and lifeless. It was in the burgeoning West German musical counterculture that he would find those closer to his artistic temperament – emergent groups such as Kraftwerk, Neu!, and Cluster. Enamoured by the possibilities of sampling and multi-track recording, it was Plank’s technical know-how that helped bring many of Krautrock’s most revolutionary records into existence. He didn’t make groups sound ‘the Conny Plank way’, or strive to capture their live sound. Instead, he explained his role as “a medium”, and helped bands to find ways to bring their ideas to life through a fusion of technology and frenzied experimentation. In an interview published in 1987, the year of his death from cancer, he summed up his philosophy with admirable brevity: “Craziness is holy.”

Such legacies can be difficult to summarise, although Who’s That Man – a four-CD box honouring Plank’s career – makes a noble attempt. There are inevitable, but still painful omissions. Plank worked with Ralph Hütter and Florian Schneider for five years, starting with the 1969 album Tone Float by the proto-Kraftwerk group Organisation, and finishing with their first masterpiece, 1974’s Autobahn. None of that, of course, appears here. Instead, the first two CDs are, while something of a curate’s egg, at least faithful to the breadth of Plank’s vision: a mix of canonical Krautrock cuts, collaborations, oddities and rarities seemingly chosen because they bear clear traces of the mad scientist’s fingerprints.

The two Neu! tracks here speed out to the duo’s polar reaches. “Negativland” builds from the hammer of pneumatic drills, Klaus Dinger’s motorik drums circling Michael Rother’s cosmic guitar in a fearful orbit. “Leb’ Wohl”, meanwhile, strikes a note of new-age meditation, Dinger bidding a tearful auf wiedersehen over the gentle crash of waves. A number of collaborations with Cluster’s Dieter Moebius showcases the pair’s playful studiocraft – from the proto-techno of 1982’s “Pitch Control”, recorded with Guru Guru drummer Mani Neumeier, to “Farmer Gabriel”, a bizarre tale of chicken slaughter narrated by the Red Krayola’s Mayo Thompson. One fan of Cluster’s early work was Brian Eno, who travelled to Plank’s studio in June 1977 to record with Moebius and Rodelius – and, one suspects, to pick up a few tricks in the process. Included here is “Broken Head”, a surrealistic highlight from 1978’s collaborative After The Heat.

Less interesting are the proggier selections: the interminable 14 minutes of Ibliss’ jazzy, saxophone-heavy “Drops”, and Streetmark’s misfiring cover of “Eleanor Rigby”. But Eurythmics’ “Le Sinistre”, originally a B-side to the group’s 1981 single “Never Gonna Cry Again”, cloaks Annie Lennox’s voice in the sonic tropes of horror cinema, while two tracks by electro-industrial duo D.A.F suggest that for all Plank’s association with Krautrock, he continued to innovate well into the post-punk ‘80s.

The third disc passes Plank productions over to a team of remixers, who with the honourable exception of Boredoms’ Yamataka Eye – who turns in a psychedelic mangling of Neu!’s “Fur Immer” – add little but height to the European Remix Mountain. The final disc unearths a performance by the trio of Plank, Moebius and Arno Steffen, recorded in Mexico, 1986. A strange soup of Arp and Oberheim synthesisers, blasts of trumpet, primitive techno and occasional enthusiastic yodelling, it is 80 minutes of pure invention, at times sublime and at times ridiculous. But, then, as Conny Plank might have put it, craziness is next to Godliness.

Louis Pattison

Q&A

Dieter Moebius, Cluster

How was it to work with Conny?

With us, he was a collaborator – a co-musician, in a way. When he got his own studio, he bought all kinds of new things that we couldn’t afford – we could use his synthesisers, all the new gadgets. The studio was a big stall in a farmhouse – a stable, where pigs were kept. But he changed it totally. It didn’t smell anymore! We would make tape loops, stretching tape all around the room, 20 metres long, and sample things from the radio.

But he was happy to remain in the background?

He was very modest. But he was also very sure of what he wanted to do. He recorded a lot of things that were not his kind of music, because he liked the people. But he could have produced U2 when they started out, and he didn’t. I don’t know why – perhaps he didn’t like the guy…

A show from Mexico in 1986 is included in the box. How did that tour come about?

We were invited by the Goethe institute, a German cultural organisation, who paid for it all. The word travelled fast, and the shows got bigger and bigger as we went. We played in some countries where rock’n’roll was not allowed – in Chile, for example, where Pinochet was terrorising his people. For some, it was like finally – we can go to a rock show. It was Conny’s last and only tour – for him, this was unique.

INTERVIEW: LOUIS PATTISON

Atoms For Peace announce three London shows

Uncut
-
0
Atoms For Peace announce three London shows
Atoms For Peace have announced three London shows as part of their European tour. The band will play three consecutive nights at London's Roundhouse at the end of July. The band, led by Thom Yorke, have already announced three festival dates – Pohada in Slovakia, Exit in Serbia and Melt in Germa...

Atoms For Peace have announced three London shows as part of their European tour.

The band will play three consecutive nights at London’s Roundhouse at the end of July.

The band, led by Thom Yorke, have already announced three festival dates – Pohada in Slovakia, Exit in Serbia and Melt in Germany.

In addition to the London shows, they will play two festivals, both in Italy: Rock In Roma and the (Milan) City sound festival, along side shows in Paris, Belgium and Germany.

Atoms For Peace’s debut album, Amok, debuted at No 5 on the UK charts this weekend.

July 6, France – Paris Zenith

9, Belgium – Antwerp Lotto Arena

10, Germany – Munich Zenith

12, Slovakia – Pohada Festival

13, Serbia – Exit Festival

16, Italy – Rome: Rock in Roma @ Ippodromo delle Capannelle

17, Italy – Milan: City Sound Festival @ Ippodromo del Galoppo

21, Germany – Berlin Melt Festival

24, UK – London Roundhouse

25, UK – London Roundhouse

26, UK – London Roundhouse

Unreleased material for Sly And The Family Stone retrospective box set

Uncut
-
0
Unreleased material for Sly And The Family Stone retrospective box set
Sly And The Family Stone are to be the subject of a multi-disc retrospective box set later this year, announces Legacy Recordings, the back-catalogue division of Sony. Sly Stone - who turns 70 on March 15 month - has been chosen by Legacy as their 'Artist Of The Month'. The program was started ear...

Sly And The Family Stone are to be the subject of a multi-disc retrospective box set later this year, announces Legacy Recordings, the back-catalogue division of Sony.

Sly Stone – who turns 70 on March 15 month – has been chosen by Legacy as their ‘Artist Of The Month’. The program was started earlier this year by Legacy and has so far been used to honor artists on significant birthdays. Janis Joplin received the honor in January when she would have turned 70 and Nina Simone received it in February when she would have turned 80.

No release date or track listing has been announced for the box set, which will be titled Higher, although nearly a quarter of the contents will be previously unissued material.

Stone’s last album, I’m Back! Family & Friends, was released in 2011.

Photo credit: SBMGArchives

1...546547548...1,272Page 547 of 1,272

SHOP UNCUT