Home Blog Page 597

Sex Pistols release 35th anniversary ‘Never Mind The Bollocks…’ boxset

0

A super deluxe boxset of the Sex Pistols' Never Mind The Bollocks, Here's The Sex Pistols album is set to be released in order to celebrate it's 35th anniversary. The boxset will be available from September 24 through Universal Music UK and will feature music, footage, interviews, pictures and other artefacts. The 1977 record's original master tapes – originally thought to be lost – have been remastered for the release by Tim Young, under direction from the album's original producer Chris Thomas. The boxset also includes the 'lost' 1977 demo studio recording of "Belsen Was A Gas" and the six demos from the 'Spunk' bootleg album as well as demos and outtakes. A copy of the handwritten lyrics to "God Save The Queen", a replica of the withdrawn "God Save The Queen" A&M 7" single, a replica promo poster and stickers and a 100 page 1977 Diary featuring quotes and rare and previously unseen photos will also be included as well as a Live 1977 DVD which has been produced by Julien Temple and features unseen performances, promo videos and radio interviews. CD1 is made up of a remastered copy of the album, while CD2 comprises studio rarities and b-sides and CD3 features live material from 1977. For more information, visit: sexpistolsofficial.com and the band's official Facebook page. Please fill in our quick survey about Uncut – and you could win a 12-month subscription to the magazine. Click here to see the survey. Thanks!

A super deluxe boxset of the Sex Pistols‘ Never Mind The Bollocks, Here’s The Sex Pistols album is set to be released in order to celebrate it’s 35th anniversary.

The boxset will be available from September 24 through Universal Music UK and will feature music, footage, interviews, pictures and other artefacts.

The 1977 record’s original master tapes – originally thought to be lost – have been remastered for the release by Tim Young, under direction from the album’s original producer Chris Thomas. The boxset also includes the ‘lost’ 1977 demo studio recording of “Belsen Was A Gas” and the six demos from the ‘Spunk’ bootleg album as well as demos and outtakes.

A copy of the handwritten lyrics to “God Save The Queen“, a replica of the withdrawn “God Save The Queen” A&M 7″ single, a replica promo poster and stickers and a 100 page 1977 Diary featuring quotes and rare and previously unseen photos will also be included as well as a Live 1977 DVD which has been produced by Julien Temple and features unseen performances, promo videos and radio interviews.

CD1 is made up of a remastered copy of the album, while CD2 comprises studio rarities and b-sides and CD3 features live material from 1977. For more information, visit: sexpistolsofficial.com and the band’s official Facebook page.

Please fill in our quick survey about Uncut – and you could win a 12-month subscription to the magazine. Click here to see the survey. Thanks!

Happy Mondays confirm new album sessions

0
Happy Mondays are planning a new album, they have confirmed. The Manchester band's management told NME that they are working on a new record, which will be the first time all the original line-up of the band recorded new material album of new material since 1992's Yes Please!. Manager Warren Aske...

Happy Mondays are planning a new album, they have confirmed.

The Manchester band’s management told NME that they are working on a new record, which will be the first time all the original line-up of the band recorded new material album of new material since 1992’s Yes Please!.

Manager Warren Askew said: “Yes, we are now planning to record a new album, after the success of the tour and with the band all getting on so well. Shaun has been writing and the band have been getting together in the studio putting ideas down. I’m sure it will be a great Happy Mondays album.”

Rumours began to surface today after Shaun Ryder told the Press Association: “At first there was no chance of the original line-up doing another album and then it went to maybe and now it’s definitely gonna happen.” Now it transpires that work has already begun.

Happy Mondays announced they were reuniting with their original line-up in January for a May tour. In February, Bez announced that he wouldn’t be performing with the band on tour, but would instead act as compere and DJ at the shows.

The band were originally discovered at a Battle Of The Bands at Manchester’s Hacienda in 1985 and went on to release the seminal albums Squirrel And G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out), Bummed, and Pills ‘N’ Thrills And Bellyaches before disbanding after 1992’s Yes Please!.

They have reunited twice before, most recently in 2004, but without members of the most successful line-up Mark Day, Paul Davis, Rowetta Satchell and Paul Ryder. Paul had sworn he wanted nothing to do with the band again when they split for a second time in 2000.

The band have released five albums in total, with their most recent effort Uncle Dysfunktional coming out in 2007.

Happy Mondays will headline Camp Bestival this weekend.

Please fill in our quick survey about Uncut – and you could win a 12-month subscription to the magazine. Click here to see the survey. Thanks!

Animal Collective: “People have said Centipede Hz sounds like a prog record!”

0
Animal Collective look back over their entire career in the brand new issue of Uncut. The Maryland group have reviewed all their own albums, including the forthcoming Centipede Hz, in the latest issue. Dave Portner, aka Avey Tare, sheds some light on the expansive nature of the new record, the f...

Animal Collective look back over their entire career in the brand new issue of Uncut.

The Maryland group have reviewed all their own albums, including the forthcoming Centipede Hz, in the latest issue.

Dave Portner, aka Avey Tare, sheds some light on the expansive nature of the new record, the follow-up to the acclaimed Merriweather Post Pavilion, saying: “We have been getting a few people saying it sounds like a prog record: someone in Japan mentioned Rush!”

“I guess it does sound like a stadium rock album in some ways,” adds Noah Lennox.

The new issue of Uncut, dated September 2012 and also featuring Joe Strummer, Captain Beefheart and Bob Dylan, is out on Friday, July 27.

___________________________________

Please fill in our quick survey about Uncut – and you could win a 12-month subscription to the magazine. Click here to see the survey. Thanks!

The 30th Uncut Playlist Of 2012

One terrible absence from this week’s playlist is, of course, Bob Dylan’s “Tempest”, which Allan heard a while back. If you haven’t read his preview yet, please check it out here. Some fairly lively discussion in the comments thread, too. Plenty of goodness has actually made it into the office, mind, as you can see from this 20. Gold stars this week to some fine newcomers: the second Chris Robinson Brotherhood album of the summer; the first Michael Mayer artist album in eight years; a new Sun Araw track (follow the link); Caribou’s reinvention as Daphni; and maybe best of all, the first new Sebadoh music for some 13 years. Check out the EP at the link – “Keep The Boy Alive” is especially great, in the fine tradition of “Beauty Of The Ride” – and, as ever, let me know what you think. Thanks… Follow me on Twitter: www.twitter.com/JohnRMulvey 1 The Chris Robinson Brotherhood – The Magic Door (Silver Arrow) 2 Frank Ocean – Channel Orange (Def Jam) 3 The Marble Vanity – The Marble Vanity (Slow Fizz) 4 Michael Mayer – Mantasy (Kompakt) 5 WhoMadeWho – Knee Deep (Kompakt) 6 Woods – Bend Beyond (Woodsist) 7 Various Artists – Erol Alkan: Another Bugged Out Mix & Bugged In Selection (!K7) 8 Liminanas – Crystal Anis (Hozac) 9 Janka Nabay & The Bubu Gang – En Yay Sah (Luaka Bop) 10 Cat Power – Sun (Matador) 11 Sebadoh – Secret EP (http://sebadoh.bandcamp.com/album/secret-ep) 12 Carol Kleyn – Takin’ The Time (Drag City) 13 The Haxan Cloak – The Men Parted The Sea To Devour The Water (Latitudes) 14 Sun Araw – The Inner Treaty (http://www.sunaraw.com/main.html) 15 Duane Pitre – Feel Free (Important) 16 Harry Taussig – Fate Is Only Twice (Tompkins Square) 17 Audacity – Mellow Cruisers (Burger) 18 Gurney Slade – Hat And Cane (Fontana) 19 Various Artists – Electric Eden (Universal) 20 Daphni – JIAOLONG (JIAOLONG)

One terrible absence from this week’s playlist is, of course, Bob Dylan’s “Tempest”, which Allan heard a while back. If you haven’t read his preview yet, please check it out here. Some fairly lively discussion in the comments thread, too.

Plenty of goodness has actually made it into the office, mind, as you can see from this 20. Gold stars this week to some fine newcomers: the second Chris Robinson Brotherhood album of the summer; the first Michael Mayer artist album in eight years; a new Sun Araw track (follow the link); Caribou’s reinvention as Daphni; and maybe best of all, the first new Sebadoh music for some 13 years. Check out the EP at the link – “Keep The Boy Alive” is especially great, in the fine tradition of “Beauty Of The Ride” – and, as ever, let me know what you think. Thanks…

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

1 The Chris Robinson Brotherhood – The Magic Door (Silver Arrow)

2 Frank Ocean – Channel Orange (Def Jam)

3 The Marble Vanity – The Marble Vanity (Slow Fizz)

4 Michael Mayer – Mantasy (Kompakt)

5 WhoMadeWho – Knee Deep (Kompakt)

6 Woods – Bend Beyond (Woodsist)

7 Various Artists – Erol Alkan: Another Bugged Out Mix & Bugged In Selection (!K7)

8 Liminanas – Crystal Anis (Hozac)

9 Janka Nabay & The Bubu Gang – En Yay Sah (Luaka Bop)

10 Cat Power – Sun (Matador)

11 Sebadoh – Secret EP (http://sebadoh.bandcamp.com/album/secret-ep)

12 Carol Kleyn – Takin’ The Time (Drag City)

13 The Haxan Cloak – The Men Parted The Sea To Devour The Water (Latitudes)

14 Sun Araw – The Inner Treaty (http://www.sunaraw.com/main.html)

15 Duane Pitre – Feel Free (Important)

16 Harry Taussig – Fate Is Only Twice (Tompkins Square)

17 Audacity – Mellow Cruisers (Burger)

18 Gurney Slade – Hat And Cane (Fontana)

19 Various Artists – Electric Eden (Universal)

20 Daphni – JIAOLONG (JIAOLONG)

‘The Velvet Underground & Nico’ to receive six disc 45th anniversary re-release

0
The Velvet Underground's classic debut album, The Velvet Underground & Nico, is set to be re-released as a six disc package on October 1. The 1967 album will be re-released in order to celebrate its 45th anniversary. The six discs will include the original stereo and mono versions of the album,...

The Velvet Underground‘s classic debut album, The Velvet Underground & Nico, is set to be re-released as a six disc package on October 1.

The 1967 album will be re-released in order to celebrate its 45th anniversary. The six discs will include the original stereo and mono versions of the album, as well as Nico‘s Chelsea Girl album and two live discs taken from a show at the Valleydale Ballroom in Columbus, Ohio.

At the start of the year, The Velvet Underground filed a lawsuit seeking to block its iconic Andy Warhol-designed banana – which featured on the artwork for The Velvet Underground And Nico – being used on covers for iPads and iPhones.

The defunct 1960’s band, formed by Lou Reed and John Cale, announced it was taking action against the Andy Warhol Foundation over reports that they had agreed to license the banana design to a series of cases, sleeves and bags.

The tracklisting for the re-issue of The Velvet Underground & Nico is:

Disc One – ‘The Velvet Underground & Nico’ (Stereo Version)

Originally Issued As Verve V6-5008, March 1967

‘Sunday Morning’

‘I’m Waiting For The Man’

‘Femme Fatale’

‘Venus In Furs’

‘Run Run Run’

‘All Tomorrow’s Parties’

‘Heroin’

‘There She Goes Again’

‘I’ll Be Your Mirror’

‘The Black Angel’s Death Song’

‘European Son’

Alternate Versions:

‘All Tomorrow’s Parties (Alternate Single Voice Version)’

‘European Son (Alternate Version)’

‘Heroin (Alternate Version)’

‘All Tomorrow’s Parties (Alternate Instrumental Mix)’

‘I’ll Be Your Mirror (Alternate Mix)’

Disc Two – ‘The Velvet Underground & Nico’ (Mono Version)

Originally Issued As Verve V-5008, March 1967

‘Sunday Morning’

‘I’m Waiting For The Man’

‘Femme Fatale’

‘Venus In Furs’

‘Run Run Run’

‘All Tomorrow’s Parties’

‘Heroin’

‘There She Goes Again’

‘I’ll Be Your Mirror’

‘The Black Angel’s Death Song’

‘European Son’

The Singles:

‘All Tomorrow’s Parties’

‘I’ll Be Your Mirror (Alternate Ending)’

‘Sunday Morning (Alternate Mix)’

‘Femme Fatale’

Disc Three – Nico: ‘Chelsea Girl’

Originally Issued As Verve V6-5032, October 1967

‘The Fairest Of The Seasons’

‘These Days’

‘Little Sister’

‘Winter Song’

‘It Was A Pleasure Then’

‘Chelsea Girls’

‘I’ll Keep It With Mine’

‘Somewhere There’s A Feather’

‘Wrap Your Troubles In Dreams’

‘Eulogy To Lenny Bruce’

Disc Four – Scepter Studios Sessions

Acetate Cut On April 25, 1966

‘European Son (Alternate Version)’

‘The Black Angel’s Death Song (Alternate Mix)’

‘All Tomorrow’s Parties (Alternate Version)’

‘I’ll Be Your Mirror (Alternate Version)’

‘Heroin (Alternate Version)’

‘Femme Fatale 2.36 (Alternate Mix)’

‘Venus In Furs (Alternate Version)’

‘Waiting For The Man (Alternate Version)’

‘Run Run Run 4.23 (Alternate Mix)’

The Factory Rehearsals: January 1966 Rehearsal, Previously Unreleased.

‘Walk Alone’

‘Cracking Up / Venus In Furs’

‘Miss Joanie Lee’

‘Heroin’

‘There She Goes Again (With Nico)’

‘There She Goes Again’

Disc Five – Live At Valleydale Ballroom, Columbus, Ohio

‘Melody Laughter’

‘Femme Fatale’

‘Venus In Furs’

‘The Black Angel’s Death Song’

‘All Tomorrow’s Parties’

Disc Six – Live At Valleydale Ballroom, Columbus, Ohio

‘Waiting For The Man’

‘Heroin’

‘Run Run Run’

‘The Nothing Song’

Please fill in our quick survey about Uncut – and you could win a 12 month subscription to the magazine. Click here to see the survey. Thanks!

Dinosaur Jr’s J Mascis: ‘We’ve written from the perspective of a vampire’

0
Dinosaur Jr's new album features a funk influence and a song about vampires. The band are set to release their tenth studio album I Bet On The Sky on September 17. "There's a couple of songs with more of a groove, a little bit mellower, but there’s some heavier stuff on it too," singer J Mascis ...

Dinosaur Jr‘s new album features a funk influence and a song about vampires.

The band are set to release their tenth studio album I Bet On The Sky on September 17.

“There’s a couple of songs with more of a groove, a little bit mellower, but there’s some heavier stuff on it too,” singer J Mascis told NME. “It’s funky for us, but not that funky. I like the first song ‘Don’t Pretend You Didn’t Know’ the best, that’s one of the funkier numbers, it seemed to come together in a good way.”

The ten-track album, recorded at Mascis’ house in Massachusetts over four months also features two songs written by bassist and Sebadoh frontman Lou Barlow – “Rude” and “Recognition”. It also includes the track ‘Watch The Corners’, a song Mascis claims is “written from the perspective of a vampire. It seems hip at the moment,” he said.

I Bet On Sky is the third album released by Dinosaur Jr since the trio reformed in 2005. “It still feels like a day-by-day thing,” he said, “you never know. I’m ready for it to stop at any moment. It’s good to see there’s a lot of younger people coming. I noticed people usually think the albums are better than they thought they would be. Some people have said this one reminded them of [1993’s] ‘Where You Been’, but I’m not sure.”

I Bet On Sky is released on September 17. The tracklisting is:

‘Don’t Pretend You Don’t Know’

‘Watch The Corners’

‘Almost Fare’

‘Stick A Toe In’

‘Rude’

‘I Know It Oh So Well’

‘Pierce The Morning Rain’

‘What Was That’

‘Recognition’

‘See It On Your Side’

Please fill in our quick survey about Uncut – and you could win a 12 month subscription to the magazine. Click here to see the survey. Thanks!

The New Bob Dylan Album, “Tempest”: A First Listen

0

Don’t spread it about, but, yes, I’ve heard the new Dylan album. And four or five tracks in, what I was thinking was: how much better is this thing going to get? First impressions, we are often told, are notoriously unreliable. Sometimes this is actually the case. I remember years ago reviewing Sting’s album The Soul Cages and coming to the hasty conclusion that it was at the time of writing one of the worst albums I’d ever heard. How I later regretted that lamentable rush to judgement. It was much worse than that and I wish I’d given myself more time with the record in defiance of prevailing deadlines so I might better have conveyed the true extent of its awfulness. On first hearing, though, Tempest seemed to find Dylan on unquestionably formidable form. Its ten tracks run over a total playing time of around 75 minutes, the title track alone taking up a fair chunk of that, with verse following verse in a manner that might remind you of “Desolation Row”. There was a lot, therefore, to take in on a single encounter, especially with note-taking discouraged. There was no track listing forthcoming, either, not that this matters at the moment since I am obliged to not go into premature detail ahead of the album’s September 10 release. I think I can say without punitive consequences, though, that if you’re trying to imagine what Tempest sounds like you may want to think less perhaps of the rambunctious roadhouse blues that was central to most of Together Through Life and parts of Modern Times, although this is a recent signature sound that hasn’t been entirely abandoned. Neither are there too many of the jazzy riverboat shuffles of “Love And Theft” in evidence here as much as there are echoes of a folk tradition that was manifest on, say, “High Water (For Charley Patton)” and also “Nettie Moore”, from Modern Times. You may also want to keep in mind as a point of reference “Mississippi” from “Love And Theft” and something like “Red River Shore”, recorded for Time Out Of Mind, but not released until 2009, when it appeared on the Tell Tale Signs three-CD set, where also lurked “’Cross The Green Mountain”, the epic civil war song Dylan wrote for the soundtrack to the 2003 film, Gods And Generals. Hardly anyone heard it when it originally came out, but it came several times to mind as Tempest unspooled spectacularly a few weeks ago, concluding with a song that will probably be much-talked about, although not here, right now. It perhaps goes without saying that if I actually had a copy of the album, there isn’t much else I’d currently be listening to, although I have been getting by well enough with the amazing new John Murry album, The Graceless Age, which I’ve reviewed for the next Uncut, which comes out later this week. I also did an interview with John Murry to run with the review and got such a detailed reply to the questions I sent him that I’ll be running the full fascinating Q&A when the issue goes on sale. I’ve also been listening a lot to the new John Cale album, Shifty Adventures In Nookie Wood, and spending time with Heat Lightning Rumbles In The Distance, the new solo album from Drive-By Truckers’ Patterson Hood, Dirty Projectors’ Swing Lo Magellan, Calexico’s Algiers (bit of a slow-burner, that one), Bill Fay’s Life Is People and Ry Cooder’s brilliant Election Day, the latter two records also reviewed in the new issue. I’ve also just got The Deliverance Of Marlowe Billings, the first thing in an age I’ve heard from former Green On Red front-man Dan Stuart. Someone else making a bit of a comeback is Catherine Irwin, who Uncut regulars will recall was once half of the wonderful Freakwater, alongside Janet Bean. Freakwater were in at the beginning of what we now refer to as Americana when it was still called alt.country. This would be back in 1989, when they stunningly juxtaposed versions of classic Louvin Brothers songs with a cover of Black Sabbath’s “War Pigs”. Anyway, next m onth Catherine releases Little Heater, her first solo album since 2002’s Cut Yourself A Switch. The opening track, “Mockingbird”, is one of two on the album that features Bonnie ‘Prince’ Billy. “Mockingbird” is available now as a free download via this Soundcloud link. Finally, if you haven’t already noticed, Uncut is now available to download digitally as an app from the iTunes store. If you already subscribe to uncut, you can download the iPad edition at no extra cost by clicking on this link and following the simple step-by-step instructions. Meanwhile, none-subscribers can download the Uncut iPad edition from the iTunes store here. Anyway, I have to go. Have a good week. Allan

Don’t spread it about, but, yes, I’ve heard the new Dylan album. And four or five tracks in, what I was thinking was: how much better is this thing going to get?

First impressions, we are often told, are notoriously unreliable. Sometimes this is actually the case. I remember years ago reviewing Sting’s album The Soul Cages and coming to the hasty conclusion that it was at the time of writing one of the worst albums I’d ever heard. How I later regretted that lamentable rush to judgement. It was much worse than that and I wish I’d given myself more time with the record in defiance of prevailing deadlines so I might better have conveyed the true extent of its awfulness.

On first hearing, though, Tempest seemed to find Dylan on unquestionably formidable form. Its ten tracks run over a total playing time of around 75 minutes, the title track alone taking up a fair chunk of that, with verse following verse in a manner that might remind you of “Desolation Row”. There was a lot, therefore, to take in on a single encounter, especially with note-taking discouraged. There was no track listing forthcoming, either, not that this matters at the moment since I am obliged to not go into premature detail ahead of the album’s September 10 release.

I think I can say without punitive consequences, though, that if you’re trying to imagine what Tempest sounds like you may want to think less perhaps of the rambunctious roadhouse blues that was central to most of Together Through Life and parts of Modern Times, although this is a recent signature sound that hasn’t been entirely abandoned.

Neither are there too many of the jazzy riverboat shuffles of “Love And Theft” in evidence here as much as there are echoes of a folk tradition that was manifest on, say, “High Water (For Charley Patton)” and also “Nettie Moore”, from Modern Times. You may also want to keep in mind as a point of reference “Mississippi” from “Love And Theft” and something like “Red River Shore”, recorded for Time Out Of Mind, but not released until 2009, when it appeared on the Tell Tale Signs three-CD set, where also lurked “’Cross The Green Mountain”, the epic civil war song Dylan wrote for the soundtrack to the 2003 film, Gods And Generals. Hardly anyone heard it when it originally came out, but it came several times to mind as Tempest unspooled spectacularly a few weeks ago, concluding with a song that will probably be much-talked about, although not here, right now.

It perhaps goes without saying that if I actually had a copy of the album, there isn’t much else I’d currently be listening to, although I have been getting by well enough with the amazing new John Murry album, The Graceless Age, which I’ve reviewed for the next Uncut, which comes out later this week. I also did an interview with John Murry to run with the review and got such a detailed reply to the questions I sent him that I’ll be running the full fascinating Q&A when the issue goes on sale.

I’ve also been listening a lot to the new John Cale album, Shifty Adventures In Nookie Wood, and spending time with Heat Lightning Rumbles In The Distance, the new solo album from Drive-By Truckers’ Patterson Hood, Dirty Projectors’ Swing Lo Magellan, Calexico’s Algiers (bit of a slow-burner, that one), Bill Fay’s Life Is People and Ry Cooder’s brilliant Election Day, the latter two records also reviewed in the new issue. I’ve also just got The Deliverance Of Marlowe Billings, the first thing in an age I’ve heard from former Green On Red front-man Dan Stuart.

Someone else making a bit of a comeback is Catherine Irwin, who Uncut regulars will recall was once half of the wonderful Freakwater, alongside Janet Bean. Freakwater were in at the beginning of what we now refer to as Americana when it was still called alt.country. This would be back in 1989, when they stunningly juxtaposed versions of classic Louvin Brothers songs with a cover of Black Sabbath’s “War Pigs”.

Anyway, next m onth Catherine releases Little Heater, her first solo album since 2002’s Cut Yourself A Switch. The opening track, “Mockingbird”, is one of two on the album that features Bonnie ‘Prince’ Billy. “Mockingbird” is available now as a free download via this Soundcloud link.

Finally, if you haven’t already noticed, Uncut is now available to download digitally as an app from the iTunes store. If you already subscribe to uncut, you can download the iPad edition at no extra cost by clicking on this link and following the simple step-by-step instructions.

Meanwhile, none-subscribers can download the Uncut iPad edition from the iTunes store here.

Anyway, I have to go. Have a good week.

Allan

Joe Strummer: “I was spokesman for a generation”

0
Joe Strummer’s secret history is revealed in the new issue of Uncut. The Clash frontman is on the cover of the magazine, dated September 2012, and out on Friday, July 27, and his turbulent life after the breakup of his group is examined inside. The feature looks at Strummer’s fascinating tim...

Joe Strummer’s secret history is revealed in the new issue of Uncut.

The Clash frontman is on the cover of the magazine, dated September 2012, and out on Friday, July 27, and his turbulent life after the breakup of his group is examined inside.

The feature looks at Strummer’s fascinating time in the wilderness – working as a method actor, a soundtrack composer, a Pogue and – almost – a member of Mick Jones’ Big Audio Dynamite.

The story is told by the legend’s friends and associates, including Paul Simonon, Mick Jones, Don Letts, The Pogues’ Phil Chevron and even actor Matt Dillon.

The new issue of Uncut is out on Friday, July 27.

Please fill in our quick survey about Uncut – and you could win a 12 month subscription to the magazine. Click here to see the survey. Thanks!

The return of Paul Thomas Anderson

0

One encouraging thread in movies this year has been the return of filmmakers of a Nineties vintage. Wes Anderson, Whit Stillman and Todd Solondz have all returned, successfully, from their various sabbaticals. Potentially topping them all, we now have sight of the imminent return of Paul Thomas Anderson, with his first film since 2007's There Will Be Blood, called The Master. The film is an alleged riff on Scientology, with Phillip Seymour Hoffman as Lancaster Dodd, who founds his own religion, called the Cause and Joaquin Phoenix - in better shape than when we last saw him, in I'm Still Here - as a drifter who falls into Dodd's orbit. Those of us who enjoyed the unfolding relationship in There Will Be Blood between the demonic oil baron Daniel Plainview (Daniel Day-Lewis) and charismatic preacher Eli Sunday (Paul Dano), will surely relish seeing what Anderson does here with Hoffman and Phoenix's characters. As usual, Radiohead's Jonny Greenwood provides the score. Here's the trailer, anyway. It looks terrific. The film looks like it might open in the UK towards the end of the year, in good time for the Oscar campaigns. http://www.youtube.com/watch?v=fJ1O1vb9AUU Please fill in our quick survey about Uncut – and you could win a 12 month subscription to the magazine. Click here to see the survey. Thanks!

One encouraging thread in movies this year has been the return of filmmakers of a Nineties vintage. Wes Anderson, Whit Stillman and Todd Solondz have all returned, successfully, from their various sabbaticals.

Potentially topping them all, we now have sight of the imminent return of Paul Thomas Anderson, with his first film since 2007’s There Will Be Blood, called The Master.

The film is an alleged riff on Scientology, with Phillip Seymour Hoffman as Lancaster Dodd, who founds his own religion, called the Cause and Joaquin Phoenix – in better shape than when we last saw him, in I’m Still Here – as a drifter who falls into Dodd’s orbit. Those of us who enjoyed the unfolding relationship in There Will Be Blood between the demonic oil baron Daniel Plainview (Daniel Day-Lewis) and charismatic preacher Eli Sunday (Paul Dano), will surely relish seeing what Anderson does here with Hoffman and Phoenix’s characters. As usual, Radiohead’s Jonny Greenwood provides the score.

Here’s the trailer, anyway. It looks terrific. The film looks like it might open in the UK towards the end of the year, in good time for the Oscar campaigns.

http://www.youtube.com/watch?v=fJ1O1vb9AUU

Please fill in our quick survey about Uncut – and you could win a 12 month subscription to the magazine. Click here to see the survey. Thanks!

Win tickets to see Lou Reed at Antony’s Meltdown

0
Lou Reed is set to play a one-off London show as part of the Antony-curated Meltdown festival this August. The former Velvet Underground frontman will play at London's Royal Festival Hall on August 10, as part of the Southbank Centre’s Festival of the World with MasterCard. We have a pair ...

Lou Reed is set to play a one-off London show as part of the Antony-curated Meltdown festival this August.

The former Velvet Underground frontman will play at London’s Royal Festival Hall on August 10, as part of the Southbank Centre’s Festival of the World with MasterCard.

We have a pair of tickets to give away to one lucky winner to see Reed’s Meltdown show, as well as a signed self portrait photo, and Meantime ale to drink throughout the night for free.

To be in with a chance of winning, answer the question below and send your answers to uncutaudiencewith@ipcmedia.com by Friday, August 3 with your name, address and phone number. The correct answers will be put into the editor’s hat and one winner will be chosen at random. The winner will be notified by Monday, August 6.

Question: What was the name of Lou Reed’s debut album?

Was it: a) Lou Reed, b) Berlin or c) I Can’t Stand It?

For more information about Meltdown, visit: http://meltdown.southbankcentre.co.uk

Please fill in our quick survey about Uncut – and you could win a 12 month subscription to the magazine. Click here to see the survey. Thanks!

New Order announce first North American shows in seven years

0
New Order have announced their first North American since 2005. The band's seven-date tour begins in San Francisco before visiting Los Angeles, New York and Chicago. Said singer Bernard Sumner said, “We’ve been having such a great time together this year, playing shows all over Europe, and we'...

New Order have announced their first North American since 2005.

The band’s seven-date tour begins in San Francisco before visiting Los Angeles, New York and Chicago.

Said singer Bernard Sumner said, “We’ve been having such a great time together this year, playing shows all over Europe, and we’re all really excited to be playing America again. We have so many friends and fans there we can’t wait to get back!”

New Order’s last American show was at the Hammerstein Ballroom in May, 2005. Their last Canadian show was 11 years ago, in 2001.

New Order play:

San Francisco, Oakland Fox Theatre (October 5)

Los Angeles, Greek Theatre (October 7)

Denver, Broomfield 1st bank Center (October 10)

Dallas, Palladium (October 12)

New York City, Roseland (October 18)

Chicago, Aragon Ballroom (October 21)

Toronto, Sony Center (October 23)

Please fill in our quick survey about Uncut – and you could win a 12 month subscription to the magazine. Click here to see the survey. Thanks!

The xx announce three UK shows to celebrate new album release

0
The xx have announced a trio of intimate UK shows for September. The London band will take to the stage at the O2 Shepherds Bush Empire on September 10 - the same day they release second album Coexist. They will follow this hometown show with gigs at The Coal Exchange in Cardiff on September 11 and...

The xx have announced a trio of intimate UK shows for September.

The London band will take to the stage at the O2 Shepherds Bush Empire on September 10 – the same day they release second album Coexist. They will follow this hometown show with gigs at The Coal Exchange in Cardiff on September 11 and Edinburgh’s Usher Hall on September 12. The xx are also scheduled to perform at Bestival on the Isle of Wight on September 7.

The xx previewed material from Coexist, their follow-up to 2009’s Mercury Prize-winning ‘xx’, at a trio of London shows in May. Earlier this month (July), they unveiled the album’s lead single “Angels” – scroll down to listen to it.

Yesterday [July 23], the band revealed that they have “gained confidence” since the release of their debut album, xx. “It’s nice not feeling cripplingly shy,” Romy Madley Croft confided in an interview with The Vine.

The xx play:

London O2 Shepherds Bush Empire (September 10)

Cardiff The Coal Exchange (September 11)

Edinburgh Usher Hall (September 12)

Please fill in our quick survey about Uncut – and you could win a 12 month subscription to the magazine. Click here to see the survey. Thanks!

Bruce Springsteen makes surprise appearance at Oslo memorial concert

0
Bruce Springsteen and E-Street Band member Steve Van Zandt made a surprise appearance last night [July 22] at a memorial concert in Norway to mark the anniversary of last year's terror attacks. The event, held in Oslo's City Square, featured a number of local artists. Springsteen and Van Zandt appe...

Bruce Springsteen and E-Street Band member Steve Van Zandt made a surprise appearance last night [July 22] at a memorial concert in Norway to mark the anniversary of last year’s terror attacks.

The event, held in Oslo’s City Square, featured a number of local artists. Springsteen and Van Zandt appeared to play protest song, “We Shall Overcome” [watch below], telling the 60,000 strong audience:

“Steve and I are honored to be included here tonight. For all of us who love democracy and tolerance, it’s an international tragedy.”

Anders Behring Breivik bombed a government building in Oslo, killing eight people, as well as killing 69 people at a youth camp on Utoya island.

Please fill in our quick survey about Uncut – and you could win a 12 month subscription to the magazine. Click here to see the survey. Thanks!

Blur launch own iPhone and iPad app

0
Blur have launched their own interactive app for iPad and iPhone. Blur: The App will be available to download free via iTunes from today (July 23). The software has been designed to serve as a companion for the band's upcoming 21-disc retrospective, Blur 21: The Box, which will be released on July ...

Blur have launched their own interactive app for iPad and iPhone.

Blur: The App will be available to download free via iTunes from today (July 23). The software has been designed to serve as a companion for the band’s upcoming 21-disc retrospective, Blur 21: The Box, which will be released on July 30.

The app features rare and previously unreleased music, including demos and remixes, alongside archive video footage of band interviews and live performances. It also includes photo galleries, biographies, a career timeline, a comprehensive discography and videography, and a gigography with setlists powered by setlist.fm.

In addition, Blur: The App syncs up with news feeds from the band’s official website, Facebook page and Twitter account. Fans will able to share content from the app on their own social networking profiles.

Blur will begin an intimate five-date UK tour at Margate Winter Gardens on August 1 as a warm-up for their massive outdoor concert at London’s Hyde Park on August 12. The show, scheduled to coincide with the closing ceremony of the Olympic games, will see Blur topping a bill that also includes New Order and The Specials. The reunited band are also scheduled to headline Sweden’s Way Out West festival in August.

Please fill in our quick survey about Uncut – and you could win a 12 month subscription to the magazine. Click here to see the survey. Thanks!

Elbow announce autumn UK arena tour

0
Elbow have announced details of a UK tour. Following the band's headline slots at Latitude, T In The Park and the Isle Of Wight festivals this year, they will embark on their first ever arena tour in November and December. Kicking off at Nottingham's Capital FM Arena on November 26, the band wil...

Elbow have announced details of a UK tour.

Following the band’s headline slots at Latitude, T In The Park and the Isle Of Wight festivals this year, they will embark on their first ever arena tour in November and December.

Kicking off at Nottingham’s Capital FM Arena on November 26, the band will then head to Birmingham NIA on November 28 and then Liverpool’s Echo Area on November 29, before heading to their Manchester home-town on December 1. They will finish up at London’s The O2 on December 2.

Elbow will play:

Nottingham Capital FM Arena (November 26)

Birmingham NIA (28)

Liverpool Echo Arena (29)

Manchester MEN Arena (December 1)

London The O2 (2)

Earlier this month, Elbow announced that they will release a B-sides compilation titled Dead In The Boot on August 27, featuring 13 B-sides and non-album tracks which have been selected by the band as favourites from their 15-year career.

In a statement on the band’s website, singer Guy Garvey said: “None of our B-sides are album rejects. It’s a different space, usually just post finishing an album when all the members of elbow are chiming and feeling very creative. This gives Dead In The Boot a real late night vibe.”

Please fill in our quick survey about Uncut – and you could win a 12 month subscription to the magazine. Click here to see the survey. Thanks!

The Gaslight Anthem – Handwritten

0

Fourth album signals a slight shift. But is it in the right direction? When The Gaslight Anthem's Brian Fallon last spoke to Uncut, as he drove home to New Jersey from Nashville after finishing work on Handwritten, he promised that the new album would sound like “Tom Petty songs played by Pearl Jam or Foo Fighters.” This was both a surprise and a relief. A few months previously, Fallon had been heard muttering that he was "just bored" with what he¹d been doing, and "didn't want to write any more rock'n'roll songs" ­ an ennui that resulted in the establishment of a side project, Horrible Crowes, to explore a budding interest in balladry. On the deafening evidence of Handwritten, he has exorcised whatever angst was plaguing him. The Gaslight Anthem's major label debut is rambunctious, unreconstructed, garage-rattling rock’n’roll: it sounds, indeed, quite a lot like Tom Petty songs played by Pearl Jam or Foo Fighters. Which is to say, of course, that Handwritten, sounds much like The Gaslight Anthem’s previous recordings. It would be churlish to complain overmuch about this: The Gaslight Anthem bristle with damn-the-torpedos bravado, and at their brilliant best have been and, at the risk of giving away the ending, are ­revelatory. But four albums in, they have developed, as distinctive artists tend to, a template of tropes that they know work for them and their audience. They relax into this once or twice too often on Handwritten, on such cuts as “Howl" and “Desire”, cranking out spiralling spindly riffs and throat-parching, fist-pumping, neck-straining oh-woah-oh choruses. At these points, the thought that this album by The Gaslight Anthem is a fine thing in and of itself can become somewhat tempered by the recollection that one already has three of these. The best of Handwritten, however ­which is most of it ­ abides with the unbound exuberance of its predecessors. Fallon also wasn't kidding when he assured Uncut that enlisting Bruce Springsteen's recently preferred producer Brendan O'Brien was the solidest possible insurance against untowardly resembling their mentor. Handwritten, flourishes a sharper metallic edge than anything The Gaslight Anthem ­ certainly the E Street Band ­have previously attempted. "Too Much Blood" and "Biloxi Parish" rifle for riffs in Led Zeppelin and Thin Lizzy records, and mark the addition of an intriguing gloomy tone to the Gaslight Anthem¹s familiar palette of breezy barroom rock (the lugubrious "Keepsake" lumbers a bit, though). And when they do reconnect with the unselfconscious vim that has hallmarked their best songs before now ­ “The ‘59 Sound”, “Stay Lucky”, et al ­ they're terrific. The first two songs, “45” and the title track, are glorious, joyous surges, the exclamations of wide-eyed punks who just got guitars and London Calling for Christmas. But for all the fine furies collected on Handwritten, the most memorable moments are those on which The Gaslight Anthem shift to lower gears. “Here Comes My Man” is a pretty acoustic pop tune not a million miles from its near-namesake by Pixies (and appears to be sung, boldly, from the perspective of a woman wearied of waiting for an itinerant musician to come home). “Mae” is a rueful, stately beautiful paean to some siren with “Bette Davis eyes” ­Fallon, not for the first time, appreciates the Proustian potence of quoting older songs in his own. And the closing track, the gently plucked, lightly string-drenched "National Anthem", at once sounds less like The Gaslight Anthem than anything they¹ve previously done, and like it might be the best thing they've ever recorded. Fallon, who has roared through most of what has gone before, drops to a Westerbergish whisper for a downbeat epic of loss and regret. There's a possible lesson for future reference here, about how one can see more when one slows down a little. There's nothing at all wrong with The Gaslight Anthem’s Gaslight Anthem songs, but they’ve got nothing left to prove on that front. ANDREW MUELLER Q&A BRIAN FALLON Handwritten is both heavier and softer than its predecessors. Was that deliberate, or organic? Live, I’d started to notice that a lot of our older songs have this even pace, and I had this urging for extremes. The heaviness came from the 90s stuff we were listening to, loud-quiet-loud stuff. Did you bring anything of the Horrible Crowes project back to this? I’m thinking specifically of tracks like “Mae” and “National Anthem”. With “Mae”, I'd always wanted those songs that builds, just lets you know something big is coming. And “National Anthem”, always a dream to have an acoustic song with a few strings. Did the thought of being on a major label for the first time prompt any self-consciousness? We had enough problems of our own that it didn't affect us. After ’59 Sound came out, everyone was writing that we were going to be next Springsteen, and then American Slang, let's be honest, wasn't the next Springsteen. On this record, I felt so much like I had something to prove that it was like doing it all over again. Like I was holding a bat, and just going to smash whatever came at me as hard as I could. If we¹re not what everyone thinks we are, we'll at least be what we think we are. INTERVIEW: ANDREW MUELLER

Fourth album signals a slight shift. But is it in the right direction?

When The Gaslight Anthem’s Brian Fallon last spoke to Uncut, as he drove home to New Jersey from Nashville after finishing work on Handwritten, he promised that the new album would sound like “Tom Petty songs played by Pearl Jam or Foo Fighters.” This was both a surprise and a relief. A few months previously, Fallon had been heard muttering that he was “just bored” with what he¹d been doing, and “didn’t want to write any more rock’n’roll songs” ­ an ennui that resulted in the establishment of a side project, Horrible Crowes, to explore a budding interest in balladry. On the deafening evidence of Handwritten, he has exorcised whatever angst was plaguing him.

The Gaslight Anthem‘s major label debut is rambunctious, unreconstructed, garage-rattling rock’n’roll: it sounds, indeed, quite a lot like Tom Petty songs played by Pearl Jam or Foo Fighters. Which is to say, of course, that Handwritten, sounds much like The Gaslight Anthem’s previous recordings. It would be churlish to complain overmuch about this: The Gaslight Anthem bristle with damn-the-torpedos bravado, and at their brilliant best have been and, at the risk of giving away the ending, are ­revelatory.

But four albums in, they have developed, as distinctive artists tend to, a template of tropes that they know work for them and their audience. They relax into this once or twice too often on Handwritten, on such cuts as “Howl” and “Desire”, cranking out spiralling spindly riffs and throat-parching, fist-pumping, neck-straining oh-woah-oh choruses. At these points, the thought that this album by The Gaslight Anthem is a fine thing in and of itself can become somewhat tempered by the recollection that one already has three of these.

The best of Handwritten, however ­which is most of it ­ abides with the unbound exuberance of its predecessors. Fallon also wasn’t kidding when he assured Uncut that enlisting Bruce Springsteen’s recently preferred producer Brendan O’Brien was the solidest possible insurance against untowardly resembling their mentor. Handwritten, flourishes a sharper metallic edge than anything The Gaslight Anthem ­ certainly the E Street Band ­have previously attempted. “Too Much Blood” and “Biloxi Parish” rifle for riffs in Led Zeppelin and Thin Lizzy records, and mark the addition of an intriguing gloomy tone to the Gaslight Anthem¹s familiar palette of breezy barroom rock (the lugubrious “Keepsake” lumbers a bit, though). And when they do reconnect with the unselfconscious vim that has hallmarked their best songs before now ­ “The ‘59 Sound”, “Stay Lucky”, et al ­ they’re terrific. The first two songs, “45” and the title track, are glorious, joyous surges, the exclamations of wide-eyed punks who just got guitars and London Calling for Christmas.

But for all the fine furies collected on Handwritten, the most memorable moments are those on which The Gaslight Anthem shift to lower gears. “Here Comes My Man” is a pretty acoustic pop tune not a million miles from its near-namesake by Pixies (and appears to be sung, boldly, from the perspective of a woman wearied of waiting for an itinerant musician to come home). “Mae” is a rueful, stately beautiful paean to some siren with “Bette Davis eyes” ­Fallon, not for the first time, appreciates the Proustian potence of quoting older songs in his own.

And the closing track, the gently plucked, lightly string-drenched “National Anthem”, at once sounds less like The Gaslight Anthem than anything they¹ve previously done, and like it might be the best thing they’ve ever recorded. Fallon, who has roared through most of what has gone before, drops to a Westerbergish whisper for a downbeat epic of loss and regret. There’s a possible lesson for future reference here, about how one can see more when one slows down a little. There’s nothing at all wrong with The Gaslight Anthem’s Gaslight Anthem songs, but they’ve got nothing left to prove on that front.

ANDREW MUELLER

Q&A

BRIAN FALLON

Handwritten is both heavier and softer than its predecessors. Was that deliberate, or organic?

Live, I’d started to notice that a lot of our older songs have this even pace, and I had this urging for extremes. The heaviness came from the 90s stuff we were listening to, loud-quiet-loud stuff.

Did you bring anything of the Horrible Crowes project back to this? I’m thinking specifically of tracks like “Mae” and “National Anthem”.

With “Mae”, I’d always wanted those songs that builds, just lets you know something big is coming. And “National Anthem”, always a dream to have an acoustic song with a few strings.

Did the thought of being on a major label for the first time prompt any self-consciousness?

We had enough problems of our own that it didn’t affect us. After ’59 Sound came out, everyone was writing that we were going to be next Springsteen, and then American Slang, let’s be honest, wasn’t the next Springsteen. On this record, I felt so much like I had something to prove that it was like doing it all over again. Like I was holding a bat, and just going to smash whatever came at me as hard as I could. If we¹re not what everyone thinks we are, we’ll at least be what we think we are.

INTERVIEW: ANDREW MUELLER

Richard Branson makes pitch to buy back Virgin Records

0
Sir Richard Branson is considering buying back Virgin Records, the label he founded over 40 years ago. The label's current owner Universal Music may sell the baled to appease competition authorities as they look to buy rival major label EMI for £1.2bn. Sir Richard originally sold Virgin Records,...

Sir Richard Branson is considering buying back Virgin Records, the label he founded over 40 years ago.

The label’s current owner Universal Music may sell the baled to appease competition authorities as they look to buy rival major label EMI for £1.2bn.

Sir Richard originally sold Virgin Records, the company he founded in 1970 aged 20, to Thorn EMI for £510m in 1992. In 1977, the label signed the Sex Pistols. Writing on his blog, the Virgin mogul wrote that he thinks the company is a “sleeping beauty”:

“I have had informal talks with both Lucian Grainge and Patrick Zelnik about Virgin Records. I have known Lucian and Patrick for both 30 years. They are great record men and Patrick has committed to revitalise Virgin Records – which has been mismanaged in the last 10 years,” he wrote.

He added: “Lucian and I feel it is a “sleeping beauty” which could become an innovative and leading label once again with the right management and investment. The potential disposal of Virgin Records by Universal is an exciting opportunity and I am keen to try to work on an arrangement with Patrick Zelnik to acquire the company I started in the seventies.”

Current artists on the Virgin roster include Gorillaz and The Rolling Stones.

Please fill in our quick survey about Uncut – and you could win a 12 month subscription to the magazine. Click here to see the survey. Thanks!

Smashing Pumpkins’ Billy Corgan: ‘The next Kurt Cobain or Trent Reznor won’t make it’

0
Smashing Pumpkins frontman Billy Corgan has said that he firmly believes whoever the next "Kurt Cobain or Courtney Love or Trent Reznor" is, they will not make it big in the same way as those artists. The singer, whose band released their new studio album Oceania last month, has said that most alte...

Smashing Pumpkins frontman Billy Corgan has said that he firmly believes whoever the next “Kurt Cobain or Courtney Love or Trent Reznor” is, they will not make it big in the same way as those artists.

The singer, whose band released their new studio album Oceania last month, has said that most alternative bands will never escape the scene they start in as that scene is now self-sufficient.

Speaking to the Daily Beast, Corgan said: “If you’re 20 years old and you aspire to be like me or Kurt Cobain or Courtney Love or Trent Reznor, you’re not going to make it that way. You won’t succeed. Let’s say you’re the next Kurt Cobain. You will be appropriated on your first album by the Pitchfork community. Your record company will rally round that idea because that’s your marketing platform. But the minute you’re in that world you’re frozen.”

Corgan then went on to say that Pitchfork and those who read it is “very much about social codes” and “whether you’re wearing the right t-shirt.”

He added: “Those Pitchfork people are very much about social codes, about whether you’re wearing the right t-shirt. That orthodoxy is no different than the rigidity of the football team at school. You can’t break the social order if you’re preaching to the choir – and the choir already has cool haircuts!”

The singer then said that what had made “Nirvana so dangerous” was the fact that they attracted listeners from across the cultural spectrum and not just from one scene. He added: “You’ve got to want to subvert the social order of the high school. That’s why Nirvana was so fucking dangerous. They had the jocks listening to them. Kurt Cobain used to talk about how weird it was to be performing, and see the people who used to beat him up cheering along.”

Corgan then said that this belief was his main reason for keeping the name ‘Smashing Pumpkins‘ alive, despite the fact he is the only member of the original line-up still in the band.

He said of this: “Where’s the rebellion right now? There’s almost no music about what’s going on politically, which is crazy because this is the craziest political time I’ve ever lived in. I’m talking big picture. Where are the bands of dissent? Where has the pushback gone? When I’m treated like a weirdo for the pushback I give, I go, ‘I’ve been doing this for 25 fucking years!’ Cira 1993 the name Smashing Pumpkins made people go, ‘Aw, I fucking hate that band,’ or, ‘I fucking love that band.’ The name still has a charge in it.”

Please fill in our quick survey about Uncut – and you could win a 12 month subscription to the magazine. Click here to see the survey. Thanks!

The Who tickets for 1979 cancelled gig will be honoured at 2013 show

0
The Who fans who still possess a ticket for their cancelled 1979 gig in Providence, Rhode Island can still use the brief for the band's show in the city in 2013. The legendary group were due to perform in the city on December 1979, but authorities prevented the gig from going ahead as 11 fans had b...

The Who fans who still possess a ticket for their cancelled 1979 gig in Providence, Rhode Island can still use the brief for the band’s show in the city in 2013.

The legendary group were due to perform in the city on December 1979, but authorities prevented the gig from going ahead as 11 fans had been trampled to death at a previous show in Ohio.

Now, The Who have announced that fans who still have the rare ticket will be able to swap it for a new brief, which will entitle the holder entry into band’s gig at the Dunkin’ Donuts Centre on February 26 2013.

Lawrence Lepole, manager of the venue, told Rhode Island’s WPRO-AM radio station: “If someone does have tickets from ’79, we will honour them. If you’ve got a ’79 ticket we will find a way for you to come and see the show.”

He added: “Somewhere, someplace, someone’s got it stashed. The question is, are they willing to give that up? If they’re willing, we’re willing to take it.”

The Who will visit Providence, Rhode Island on their mammoth 2013 32-date tour of the US. The band will be playing their Quadrophenia album in its entirety, as well as other favourites.

Please fill in our quick survey about Uncut – and you could win a 12 month subscription to the magazine. Click here to see the survey. Thanks!

Sebastian Bergman

It's the Swedish Cracker! Sort of... A dishevelled criminal profiler, down on his luck and plagued by inner demons and vices, is engaged by a reluctant police force to help track down a killer. Yes, this could be the pitch for Cracker – but here it’s successfully used as the premise of this month’s essential piece of Nordic Noir. There are clear parallels between Robbie Coltrane’s Fitz and Rolf Lassgard’s title character beyond the bear-like frames of both actors, although where Fitz was a slave to a destructive gambling habit, Bergman’s weakness is women. The subtext to both series is that it takes a troubled mind to get inside another troubled mind, but while Cracker spun on Fitz’s intuition, Sweden’s Sebastian Bergman functions as more of a standard police procedural. When we first meet Sebastian, he’s sorting through his recently deceased mother’s house and contents, and notices the arrival of detectives to question a murder suspect next door. It’s the same crack team he worked with 12 years earlier. Te script only hints at the reasons for their falling out, and his co-opting onto the investigation ruffles the feathers of familiarly-drawn squad members – the weary and jaded lead cop, a no-nonsense ambitious fast-track female sergeant, a younger idealistic rookie. This opening two-parter, “The Cursed One” introduces the mesmerising Lassgard, previously seen as a detective in the original Swedish Wallander. He plays Bergman as a relatively taciturn and benign force (far removed from Coltrane’s ebullient Fitz), understated but wise. He never really seems to do much, but you can’t take your eyes off him. Bergman’s personal tragedy of having lost his wife and young daughter in the 2004 Indian Ocean tsunami may veer too close to soap opera for some, but as a set-up for unlikely new hero it ticks a satisfying number of boxes. EXTRAS: None TERRY STAUNTON

It’s the Swedish Cracker! Sort of…

A dishevelled criminal profiler, down on his luck and plagued by inner demons and vices, is engaged by a reluctant police force to help track down a killer. Yes, this could be the pitch for Cracker – but here it’s successfully used as the premise of this month’s essential piece of Nordic Noir. There are clear parallels between Robbie Coltrane’s Fitz and Rolf Lassgard’s title character beyond the bear-like frames of both actors, although where Fitz was a slave to a destructive gambling habit, Bergman’s weakness is women. The subtext to both series is that it takes a troubled mind to get inside another troubled mind, but while Cracker spun on Fitz’s intuition, Sweden’s Sebastian Bergman functions as more of a standard police procedural.

When we first meet Sebastian, he’s sorting through his recently deceased mother’s house and contents, and notices the arrival of detectives to question a murder suspect next door. It’s the same crack team he worked with 12 years earlier. Te script only hints at the reasons for their falling out, and his co-opting onto the investigation ruffles the feathers of familiarly-drawn squad members – the weary and jaded lead cop, a no-nonsense ambitious fast-track female sergeant, a younger idealistic rookie.

This opening two-parter, “The Cursed One” introduces the mesmerising Lassgard, previously seen as a detective in the original Swedish Wallander. He plays Bergman as a relatively taciturn and benign force (far removed from Coltrane’s ebullient Fitz), understated but wise. He never really seems to do much, but you can’t take your eyes off him. Bergman’s personal tragedy of having lost his wife and young daughter in the 2004 Indian Ocean tsunami may veer too close to soap opera for some, but as a set-up for unlikely new hero it ticks a satisfying number of boxes.

EXTRAS: None

TERRY STAUNTON