Subscribe
Home Blog Page 666

FEIST – METALS

Uncut
-
0
FEIST – METALS
Leslie Feist’s career path has taken a bit of a zigzag path. The Nova Scotia-born, Toronto-based artist played guitar with rapper Peaches (who nicknamed her Bitch Lap Lap) and Canadian indie rockers By Divine Right, before joining the Broken Social Scene collective in 2002. Then came 2004’s Let...

Leslie Feist’s career path has taken a bit of a zigzag path. The Nova Scotia-born, Toronto-based artist played guitar with rapper Peaches (who nicknamed her Bitch Lap Lap) and Canadian indie rockers By Divine Right, before joining the Broken Social Scene collective in 2002.

Then came 2004’s Let It Die, which contained witty covers of songs from The Bee Gees and Ron Sexsmith as well as the wicked-clever original “Mushaboom”. She laid low for three years before making a dramatic return with The Reminder and its insidiously catchy hit single, “1234” which broke her in the States when Apple picked it up for an iPod Nano TV campaign. After an even longer respite, she’s returned with her boldest, most idiosyncratic album yet in Metals.

A location junkie, Feist cut The Reminder in a 19th-Century French manor house, and for the follow-up she brought her longtime collaborators Chilly Gonzalez and Dominic “Mocky” Salole, along with a fresh batch of material, to a converted barn sitting between the rocky cliffs and lush forests of Big Sur on the California coast. Working with a hand-picked crew that included keyboardist Brian LeBarton (Beck) and co-producer Valgeir Siggurðsson (Björk), she made the album in two and a half weeks in this breathtakingly picturesque locale. The resulting LP, throbbing with rugged beauty and natural energy, cinematically evokes the environment in which it was created.

Feist possesses the sensibility of a painter – she has a rarefied sense of composition and detail – and a tart, elastic alto made for sharing confidences and intimacies. She’s the antithesis of the demure female singer/songwriter; throughout Metals, she delights in rubbing together raw and refined elements, making for a friction that keeps the soundscapes energised and ever-changing, as giant pop hooks erupt at unexpected moments in a thrilling marriage of solipsistic risk-taking and in-your-face accessibility. There’s enough shape-shifting within these performances to keep the listener in a hallucinatory state throughout the 50-minute running time, as Feist absorbs and assimilates musical and environmental inspirations like a sponge on steroids. From moment to moment, her singing suggests PJ Harvey, Björk, Kate Bush, Fiona Apple and Susanne Vega, while the quicksilver backdrops recall Sufjan Stevens, Fleet Foxes, Laura Nyro and Burt Bacharach.

The first three tracks hauntingly set the scene. “The Bad In Each Other” opens with a brutally pounded kick drum, with Feist playing rings around it on scrappy electric guitar, the arrangement expanding with strings and subtle horns that sound almost impromptu in their air-moving, real-time immediacy. The muted “Graveyard”, with its “Bring ’em all back to life” refrain, and “Caught A Long Wind”, as subliminal as windchimes on a lazy afternoon, are palpably atmospheric, the result of a naturalistic recording approach that drops the listener into the space in which the performances went down. There’s as much air here as sound, and that is the source of the record’s palpable presence.

The tone turns sultry with the sublimely infectious “How Come You Never Go There”, interspersing a wistful wordless chorale, her gnarly Neil Young-style electric guitar and burnished horns. It’s the first of four tracks of stunning inventiveness. The ragingly intense rocker “A Commotion” bristles with an Arcade Fire-like repetitive grandeur. The mutated nocturne “Anti-Pioneer” featuring queasy guitar licks, a masterfully torchy vocal and a shuddering drone occupying the lower register, is Big Sur noir, moving with the primal rhythm of waves crashing against cliffs. And “Undiscovered First” juxtaposes instrumental dissonance and a schoolgirl chorale. Here, she purrs, with dominatrix authority, “You can’t unthink a thought/Either it’s there or it’s not”.

These powerful pieces are interspersed with quieter songs of dreamlike purity, including “Bittersweet Melodies”, in which cello-powered strings pass over the track like fast- moving storm clouds, leaving hazy sunlight in its wake; “Comfort Me”, which turns on the killer couplet, “When you comfort me/It doesn’t bring me comfort, actually”; and the closing “Get It Wrong, Get It Right”, which places her hushed voice amid the ghostly chinking of chains and a gong-like cymbal.

Feist’s fiercely uncompromising nature is exemplified by her decision to remove “Woe Be”, which had been singled out by Spin in an album preview as the obvious follow-up to “1,2,3,4”, from the tracklist. It’s this insistence on resolutely following her instincts that makes this record so lustily appealing from top to bottom.

Bud Scoppa

NOEL GALLAGHER’S HIGH FLYING’ BIRDS

Uncut
-
0
NOEL GALLAGHER’S HIGH FLYING’ BIRDS

What’s Noel Gallagher’s problem? Fabulously wealthy and finally shot of his brother, he’s surely now free to make the self-indulgent, critic-pleasing album displaying all the wit and taste he’s previously reserved for his interviews. Following in the footsteps of his heroes, like Weller after The Jam, like Marr after The Smiths, like Ian Brown after the Stone Roses, he could reveal the restless, questing free-ranging spirit that was fettered by the dopey conservatism of his old group. But that sibling rivalry runs deep. Following Beady Eye’s goofily enjoyable debut earlier this year, is he content to let Liam claim the mantle of Continuity Oasis and swagger off with the rump of their old audience, leaving him with the cold comfort of a couple of extra stars from broadsheet reviewers? What’s a Britpop boy to do? Well, you could try to have it both ways. As the promo campaign ahead of his solo debut is a bit too eager to point out, High Flying Birds is just the first of two Noel Gallagher albums, and will be followed in 2012 by his collaboration with pie-eyed psychonauts Amorphous Androgynous (who previously cooked up an epic reworking of the final Oasis single, “Falling Down”). The Amorphous Androgynous album is, according to Noel, “far fucking out”. Very much in contrast to High Flying Birds, then. An unkind critic might note that the highest flying birds are generally vultures, wanting to scope out the largest possible territory for rotting carcasses to scavenge. Noel’s Birds stick pretty close to his favourite hunting grounds, however. The first single “The Death Of You And Me” is by far the best thing here, folksy fingerpicking, spooky organ and an oddly affecting, ominous lyric elevating what would otherwise seem an obvious airgun marriage of The Lovin’ Spoonful’s “Summer In The City” and The Kinks’ “Sunny Afternoon”. The Kinks-fix that Noel has been on since at least “The Importance Of Being Idle” hangs heavy all over High Flying Birds. The looming dread of “Dream On” (“Oh me, oh my, I’m running out of batteries...”) owes something to “Dead End Street”, “Soldier Boys And Jesus Freaks” refers to “all the people on the village green” and by the time of “(Stranded On) The Wrong Beach” you get the feeling he could knock out one of these well-turned, doomy, descending bassline ditties in his sleep, like a craftsman knocking out reproduction furniture. On the final Oasis album a track like “Falling Down” seemed novel, enlivened by a sudden midlife sense of mortality. Here that feeling has gone stale, with songs that settle into humdrum strums and occasionally struggle to rouse themselves from their torpor with comedy brass codas. Elsewhere, he sticks even closer to home: the first couple of Oasis albums. Both “If I Had A Gun” and “Broken Arrow” labour vainly to escape the long shadow of “Wonderwall”. The cumulative effect of all this mid-tempo moodiness is that High Flying Birds feels awfully plodding – particularly in comparison to the unexpected zip and zest of Beady Eye’s Different Gear, Still Speeding. It’s not until the sixth track, “What A Life”, that the pace picks up, but it’s too little, too late. The closing “Stop The Clocks” was written for Oasis’ Don’t Believe The Truth [2004] but mysteriously left off the album at the last minute, going on, in its continuing absence, to provide the title for the 2006 greatest hits comp. After all this time you might reasonably imagine it was some rare jewel Noel was sensibly stockpiling for his solo career. But despite the dimly psychedelic gesture of some “Lucy In the Sky…” keyboards and a laborious closing wig-out, it can’t help but close the album with a sense of lumbering anticlimax. “What if I’m already dead/How would I know?” he sings, offering an open goal that’s difficult to resist. It’s hard to escape the feeling that High Flying Birds is a half-hearted failure of nerve, an attempt to play to the base more characteristic of a hedging politican than a truly reckless rock’n’roll star. The end of Oasis was never going to be the end of the battling Gallaghers, and after the first round of the solo careers, the score is indubitably Liam 1, Noel 0. If nothing else, High Flying Birds has upped the stakes for the return leg. Stephen Troussé

What’s Noel Gallagher’s problem? Fabulously wealthy and finally shot of his brother, he’s surely now free to make the self-indulgent, critic-pleasing album displaying all the wit and taste he’s previously reserved for his interviews. Following in the footsteps of his heroes, like Weller after The Jam, like Marr after The Smiths, like Ian Brown after the Stone Roses, he could reveal the restless, questing free-ranging spirit that was fettered by the dopey conservatism of his old group.

But that sibling rivalry runs deep. Following Beady Eye’s goofily enjoyable debut earlier this year, is he content to let Liam claim the mantle of Continuity Oasis and swagger off with the rump of their old audience, leaving him with the cold comfort of a couple of extra stars from broadsheet reviewers? What’s a Britpop boy to do?

Well, you could try to have it both ways. As the promo campaign ahead of his solo debut is a bit too eager to point out, High Flying Birds is just the first of two Noel Gallagher albums, and will be followed in 2012 by his collaboration with pie-eyed psychonauts Amorphous Androgynous (who previously cooked up an epic reworking of the final Oasis single, “Falling Down”). The Amorphous Androgynous album is, according to Noel, “far fucking out”. Very much in contrast to High Flying Birds, then.

An unkind critic might note that the highest flying birds are generally vultures, wanting to scope out the largest possible territory for rotting carcasses to scavenge. Noel’s Birds stick pretty close to his favourite hunting grounds, however. The first single “The Death Of You And Me” is by far the best thing here, folksy fingerpicking, spooky organ and an oddly affecting, ominous lyric elevating what would otherwise seem an obvious airgun marriage of The Lovin’ Spoonful’s “Summer In The City” and The Kinks’ “Sunny Afternoon”.

The Kinks-fix that Noel has been on since at least “The Importance Of Being Idle” hangs heavy all over High Flying Birds. The looming dread of “Dream On” (“Oh me, oh my, I’m running out of batteries…”) owes something to “Dead End Street”, “Soldier Boys And Jesus Freaks” refers to “all the people on the village green” and by the time of “(Stranded On) The Wrong Beach” you get the feeling he could knock out one of these well-turned, doomy, descending bassline ditties in his sleep, like a craftsman knocking out reproduction furniture. On the final Oasis album a track like “Falling Down” seemed novel, enlivened by a sudden midlife sense of mortality. Here that feeling has gone stale, with songs that settle into humdrum strums and occasionally struggle to rouse themselves from their torpor with comedy brass codas.

Elsewhere, he sticks even closer to home: the first couple of Oasis albums. Both “If I Had A Gun” and “Broken Arrow” labour vainly to escape the long shadow of “Wonderwall”. The cumulative effect of all this mid-tempo moodiness is that High Flying Birds feels awfully plodding – particularly in comparison to the unexpected zip and zest of Beady Eye’s Different Gear, Still Speeding. It’s not until the sixth track, “What A Life”, that the pace picks up, but it’s too little, too late.

The closing “Stop The Clocks” was written for Oasis’ Don’t Believe The Truth [2004] but mysteriously left off the album at the last minute, going on, in its continuing absence, to provide the title for the 2006 greatest hits comp. After all this time you might reasonably imagine it was some rare jewel Noel was sensibly stockpiling for his solo career. But despite the dimly psychedelic gesture of some “Lucy In the Sky…” keyboards and a laborious closing wig-out, it can’t help but close the album with a sense of lumbering anticlimax. “What if I’m already dead/How would I know?” he sings, offering an open goal that’s difficult to resist.

It’s hard to escape the feeling that High Flying Birds is a half-hearted failure of nerve, an attempt to play to the base more characteristic of a hedging politican than a truly reckless rock’n’roll star. The end of Oasis was never going to be the end of the battling Gallaghers, and after the first round of the solo careers, the score is indubitably Liam 1, Noel 0. If nothing else, High Flying Birds has upped the stakes for the return leg.

Stephen Troussé

Morrissey: ‘We live in very dumbed-down times’

Uncut
-
0
Morrissey: ‘We live in very dumbed-down times’
Morrissey has criticized the way information is presented by the modern media, saying that he believes we "live in very dumbed-down times." The singer, who is still searching for a record label to release his new studio album, which, despite being complete and ready to go, is still without a relea...

Morrissey has criticized the way information is presented by the modern media, saying that he believes we “live in very dumbed-down times.”

The singer, who is still searching for a record label to release his new studio album, which, despite being complete and ready to go, is still without a release date.

Asked by Clash Magazine about his view of of the modern media, the singer replied: “We live in very dumbed-down times. Everything – news media, music, music magazines – are presented with the assumption that the people as a whole are utterly thick.”

The former Smiths man also accused the media of labeling him as ‘mad Morrissey‘ so they could avoid actually dealing with the content of the comments he makes.

He added: “I think I am officially ‘Mad Morrissey’ now, and everything I say must be ridiculed because that’s one way of not dealing with the contents of the actual comment. With the riots recently the media are obsessed with punishment as solution, but no-one has the intelligence to ask why the people did what they did.”

The singer also spoke his reasons for starting out in a band and said he never wanted to be a musician, but someone who took audiences on a journey.

He said: “I never wanted to be a musician. I wanted to stand upright and sing out. I didn’t want to look down as most people onstage do. I wanted to walk the plank, to dive in, to take it on the chin. I wanted to give too much, like Al Martino or Maria Callas or Edith Piaf or Tom Jones in his mad days. I loved it when singers were so over-emotional that onlookers would feel slightly embarrassed or uncomfortable and then absolutely love it. You very rarely see modern singers or modern groups taking the audience somewhere.”

Morrissey is planning to release his first autobiography in December 2012.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Metallica and Lou Reed promise ‘sex’ and ‘murder’ in second trailer for ‘Lulu’

Uncut
-
0
Metallica and Lou Reed promise ‘sex’ and ‘murder’ in second trailer for ‘Lulu’
Metallica and Lou Reed have posted a second trailer for their forthcoming collaboration album 'Lulu', scroll down to the bottom of the page and click to watch it. 'Lulu', which is based around German playwright Frank Wedekind's 1913 play about the life of an abused dancer, is due for release on Oct...

Metallica and Lou Reed have posted a second trailer for their forthcoming collaboration album ‘Lulu’, scroll down to the bottom of the page and click to watch it.

‘Lulu’, which is based around German playwright Frank Wedekind’s 1913 play about the life of an abused dancer, is due for release on October 31, with the North American release following a day later on November 1.

The trailer, which is 97 seconds long, uses the album’s lead-off single ‘The View’ as a backdrop to promise the listener an album that will feature “sex”, “violence”, “murder”, “madness”, “desire” and “greed” as well as a host of other things.

The promotional poster for the album was recently banned on tube trains and in stations by London Underground after bosses ruled that the artwork for the album looked too much like graffiti.

The metal titans will make their UK debut with Reed on November 8 when they will perform tracks from ‘Lulu’ on Later… With Jools Holland.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Jack White covers U2’s ‘Love Is Blindness’ – audio

Uncut
-
0
Jack White covers U2’s ‘Love Is Blindness’ – audio
Jack White has recorded a cover of U2's 'Love Is Blindness' – scroll down to the bottom of the page and click to listen. The former White Stripes man's take on the track will feature on a 20th anniversary tribute to the Irish band's 1991 LP 'Achtung Baby', which has been commissioned by Q magazi...

Jack White has recorded a cover of U2‘s ‘Love Is Blindness’ – scroll down to the bottom of the page and click to listen.

The former White Stripes man’s take on the track will feature on a 20th anniversary tribute to the Irish band’s 1991 LP ‘Achtung Baby’, which has been commissioned by Q magazine and also features covers by Patti Smith, Depeche Mode and Damien Rice.

Since leaving The White Stripes, White has also collaborated with rappers the Insane Clown Posse and is set to release a remix album featuring Queens Of The Stone Age’s Josh Homme, Beck, and Mark Lanegan on his Third Man Records label.

U2 frontman Bono recently revealed details of the LP during a press conference to promote the new U2 documentary From The Sky Down, which opened this year’s Toronto International Film Festival.

He said: “It’s strange, because when I hear the album, when U2 do it, all I hear is what’s wrong with it. But when I heard all these artists doing it, I thought, ‘It’s really good’.”

The film – which was premiered on BBC One earlier this month (October 9) – was directed by An Inconvenient Truth‘s Davis Guggenheim and sees the band returning to Hansa Studios in Berlin where ‘Achtung Baby’ was recorded.

Of the film, director Guggenheim says: “In the terrain of rock bands implosion or explosion is seemingly inevitable. U2 has defied the gravitational pull towards destruction… this band has endured and thrived. From The Sky Down asks the question why.”

http://www.youtube.com/watch?v=P5wcPHLl7Ds

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Television Personalities’ Dan Treacy ‘critically ill’ and in hospital

Uncut
-
0
Television Personalities’ Dan Treacy ‘critically ill’ and in hospital
Television Personalities frontman Dan Treacy is critically ill and receiving treatment in hospital. The cult singer-songwriter – whose first full-length Television Personalities album 'And Don't The Kids Just Love It' was released in 1980 – is currently receiving treatment in intensive care af...

Television Personalities frontman Dan Treacy is critically ill and receiving treatment in hospital.

The cult singer-songwriter – whose first full-length Television Personalities album ‘And Don’t The Kids Just Love It’ was released in 1980 – is currently receiving treatment in intensive care after undergoing major surgery to remove a blood clot to his brain, and has been in an induced coma for the last 48 hours.

At present, it is unclear as how Treacy sustained the injury, but a police investigation is reportedly underway.

A statement released by Television Personalities members TexasBob Juarez, Mike Stone and Arnau Obiols said: “The band is very much concerned for our dear friend and Brother Daniel at this time, and we are all praying for a recovery.”

Treacy – who has been the only constant member of Television Personalities since their inception three decades ago – hinted in a post on his blog in 2009 that he was considering quitting music, but in 2010 the band released their most recent studio album ‘A Memory Is Better Than Nothing’.

He was also namechecked by MGMT on their 2010 album ‘Congratulations’, with the band’s Andrew VanWyngarden paying tribute to Treacy by claiming Television Personalities had “made some of the best music of the last 30 years.”

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Paul Simon to take ‘Graceland’ on tour in 2012

Uncut
-
0
Paul Simon to take ‘Graceland’ on tour in 2012
Paul Simon is set to take his iconic 1986 album ‘Graceland’ on the road next year, to celebrate the 25th anniversary of the 1987 tour of the album. The tour is currently being planned and will see Simon hitting the road with Ladysmith Black Mambazo, who featured on the album and toured the song...

Paul Simon is set to take his iconic 1986 album ‘Graceland’ on the road next year, to celebrate the 25th anniversary of the 1987 tour of the album.

The tour is currently being planned and will see Simon hitting the road with Ladysmith Black Mambazo, who featured on the album and toured the songs with him. It is thought that the new tour will happen at the same time that the ‘Graceland’ box set and legacy edition of the album is released in Spring 2012.

This July, Simon performed with Ladysmith Black Mambazo and trumpet player Hugh Masekela in their native South Africa. The performance was filmed by Joe Berlinger and the footage will be included on a film that will make up part of the box set.

“The documentary took me back to the artistic aspects and the political aspects of making ‘Graceland’ and the controversy that surrounded it and how it was resolved, plus what remains of it and what we learn from it,” said Simon to Billboard.

‘Graceland’ scored the Grammy awards for Album of the Year and Record of the Year for the title track at the 1987 ceremony.

Paul Simon is currently on tour in the US. He released the album ‘So Beautiful Or So What’ earlier this year.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

The Black Keys announce tracklisting for new album ‘El Camino’

Uncut
-
0
The Black Keys announce tracklisting for new album ‘El Camino’
The Black Keys have revealed full details of their seventh album 'El Camino', which has been given a release date of December 5. The album, which is the follow-up to their 2010 LP 'Brothers', features 11 tracks in total and is reported to be strongly influenced by The Clash and The Cramps. The L...

The Black Keys have revealed full details of their seventh album ‘El Camino’, which has been given a release date of December 5.

The album, which is the follow-up to their 2010 LP ‘Brothers’, features 11 tracks in total and is reported to be strongly influenced by The Clash and The Cramps.

The LP’s opening track, ‘Lonely Boy’ will be released as a single on October 26. Gnarls Barkley man Danger Mouse has once again acted as producer on the album.

The tracklisting for ‘El Camino’ is as follows:

‘Lonely Boy’

‘Dead And Gone’

‘Gold On The Ceiling’

‘Little Black Submarines’

‘Money Maker’

‘Run Right Back’

‘Sister’

‘Hell Of A Season’

‘Stop Stop’

‘Nova Baby’

‘Mind Eraser’

The Black Keys have also announced two more dates for their February UK tour. The band have added extra shows in both Manchester and London after the previously announced dates sold out.

The Black Keys will now play:

Nottingham Capital FM Arena (February 3)

Edinburgh Corn Exchange (4)

O2 Apollo Manchester (6,7)

London Alexandra Palace (9,10)

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Seasick Steve to release first ‘Best Of’ compilation

Uncut
-
0
Seasick Steve to release first ‘Best Of’ compilation
Seasick Steve is set to release his very first 'Best Of' compilation, entitled 'Walkin' Man: The Very Best of Seasick Steve', on November 14. There will also be a deluxe edition of the album, which will be accompanied by a full gig filmed at London O2 Academy Brixton as well as the BBC Four documen...

Seasick Steve is set to release his very first ‘Best Of’ compilation, entitled ‘Walkin’ Man: The Very Best of Seasick Steve’, on November 14.

There will also be a deluxe edition of the album, which will be accompanied by a full gig filmed at London O2 Academy Brixton as well as the BBC Four documentary ‘Bringing It All Back Home’, which follows the self-styled ‘hobo’ bluesman on a trip through Tennessee.

The album is made up of over 20 tracks from his five albums, including the songs ‘Dog House Boogie’, ‘Diddley Bo’, ‘Started Out With Nothin’ and ‘Don’t Know Why She Loves Me But She Do’.

Seasick Steve plays Manchester O2 Apollo tonight (October 10) and Glasgow O2 Academy tonight (October 11), where he will be joined onstage by John Paul Jones of Led Zeppelin and Them Crooked Vultures.

To check the availability of [url=http://www.seetickets.com/see/event.asp?artist=seasick+steve&filler1=see&filler3=id1nmestory]Seasick Steve tickets[/url] and get all the latest listings, go to [url=http://www.nme.com/gigs]NME.COM/TICKETS[/url] now, or call 0871 230 1094.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Noah And The Whale announce March UK and Ireland tour

Uncut
-
0
Noah And The Whale announce March UK and Ireland tour
Noah And The Whale have announced an extensive UK and Ireland tour for March 2012. The tour, which is the band's third full UK and Ireland trek in support of their album 'Last Night On Earth', begins at Dublin's Olympia on March 16 and runs until April 16, when the band headline London's Royal Alb...

Noah And The Whale have announced an extensive UK and Ireland tour for March 2012.

The tour, which is the band’s third full UK and Ireland trek in support of their album ‘Last Night On Earth’, begins at Dublin’s Olympia on March 16 and runs until April 16, when the band headline London‘s Royal Albert Hall.

The trek includes shows in Dublin and Newcastle which were postponed from the band’s current UK tour. They were due to play in Newcastle tonight (October 11), but will do so instead on March 21 next year.

You can watch the video for the band’s latest single ‘Waiting For My Chance To Come’ by scrolling down to the bottom of the page and clicking.

Noah And The Whale will play:

Dublin Olympia (March 16)*

HMV Edinburgh Picture House (20)

O2 Academy Newcastle (21)*

O2 Academy Sheffield (22)

York Barbican (24)

Portsmouth Guildhall (25)

Southend Cliffs Pavilion (26)

Plymouth Pavilion (28)

Wolverhampton Civic Hall (29)

O2 Apollo Manchester (30)

London Royal Albert Hall (April 16)

*Indicates a rescheduled date from the band’s October 2011 tour

Tickets go onsale on Friday (October 14) at 9am (BST). To check the availability of [url=http://nme.seetickets.com/Tour/Noah-And-The-Whale?affid1nmestory] Noah And The Whale tickets[/url] and get all the latest listings, go to [url=http://www.nme.com/gigs]NME.COM/TICKETS[/url] now, or call 0871 230 1094.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

The Black Keys unveil new album ‘El Camino’ in car sale advert spoof

Uncut
-
0
The Black Keys unveil new album ‘El Camino’ in car sale advert spoof
The Black Keys have unveiled their new album 'El Camino' in a bizarre car sale spoof. The band, who released their last album 'Brothers' in 2010, have set up a new website Wannabuyavan.com, which features a link to a video which stars US comedic actor and How I Met Your Mother star Bob Odenkirk ...

The Black Keys have unveiled their new album ‘El Camino’ in a bizarre car sale spoof.

The band, who released their last album ‘Brothers’ in 2010, have set up a new website

Wannabuyavan.com, which features a link to a video which stars US comedic actor and How I Met Your Mother star Bob Odenkirk attempting to film an advert to sell a used El Camino car.

At the conclusion of the video the words ‘The Black Keys. El Camino. December 6’ appear on the screen, which would indicate the record will be released on December 5 in the UK. You can watch the video by scrolling down to the bottom of the page and clicking.

There is also a phone number listed on the spoof website, which when called plays a recorded message from The Black Keys themselves.

The band have previously said that ‘El Camino’ is strongly influenced by The Clash and The Cramps. There remains no confirmed tracklisting for the LP as yet, but tracks titled ‘Little Black Submarine’ and ‘Lonely Boy’ are both set to feature on the album.

The Black Keys tour the UK in February next year, playing four UK dates as part of a full European trek. These begin on February 3 at Nottingham‘s Capital FM Arena and run until February 10, when the band headline London‘s Alexandra Palace. They will also play Manchester and Edinburgh as part of the run.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Radiohead: ‘We didn’t want to explain ‘The King Of Limbs”

Uncut
-
0
Radiohead: ‘We didn’t want to explain ‘The King Of Limbs”
Radiohead have spoken about the reasons behind their decision to release their eighth studio album 'The King Of Limbs' without any promotional interviews, gigs or fanfare of any kind. The band, who are currently in the US for two shows in New York, their first formally scheduled live dates since ...

Radiohead have spoken about the reasons behind their decision to release their eighth studio album ‘The King Of Limbs’ without any promotional interviews, gigs or fanfare of any kind.

The band, who are currently in the US for two shows in New York, their first formally scheduled live dates since the release of ‘The King Of Limbs’, told NPR that they didn’t feel any obligation to talk up their new album.

Asked why the band had done no promotional touring or interviews in the build up to the release of ‘The King Of Limbs’, Yorke replied: “We didn’t want to explain it” and guitarist Ed O’Brien simply adding: “We didn’t feel like it”.

The band also spoke about the way in which they recorded the album and have compared it to editing a film.

Asked about how they put each of the tracks together, Yorke replied: “Almost every tune is like a collage, with bits we pre-recorded and flying them at each other. It was like editing a film or something, it was quite interesting.”

Radiohead release their new remix album ‘TKOL 1234567’ today (October 10). They celebrate its release at London‘s Corsica Studios tomorrow (October 11) with a launch evening.

Frontman Thom Yorke will be DJing, as will Jamie XX, Caribou, Lone and Illum Sphere, all of whom have contributed remixes to ‘TKOL RMX 1234567’. The whole event will be available to be live streamed from Boilerroom.tv

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Paul McCartney announces European tour for November and December

Uncut
-
0
Paul McCartney announces European tour for November and December
Paul McCartney has announced a European tour for November and December, with three UK shows included. The former Beatles man, who married his fiancée Nancy Shevell yesterday afternoon (October 9), has lined up 10 dates on the trek. These begin in Italy in Bologna on November 26 and finish with ...

Paul McCartney has announced a European tour for November and December, with three UK shows included.

The former Beatles man, who married his fiancée Nancy Shevell yesterday afternoon (October 9), has lined up 10 dates on the trek.

These begin in Italy in Bologna on November 26 and finish with a homecoming show in Liverpool on December 20.

McCartney will play two other UK shows as part of the tour, appearing at London‘s O2 Arena on December 5 and at Manchester‘s Evening News Arena on December 19.

Paul McCartney will play:

Bologna Futureshow Station Arena (November 26)

Milan Mediolanumforum (27)

Paris Bercy Omnisport Arena (30)

Koln Lanxess Arena (December 1)

London O2 Arena (5)

Stockholm The Globen (10)

Helsinki Hartwall Arena (12)

Moscow Olympiyski Arena (14)

Manchester Evening News Arena (19)

Liverpool Echo Arena (20)

Tickets go onsale on Thursday (October 13) at 9am (BST). To check the availability of [url=http://nme.seetickets.com/Tour/Paul-McCartney?affid1nmestory] Paul McCartney tickets[/url] and get all the latest listings, go to [url=http://www.nme.com/gigs]NME.COM/TICKETS[/url] now, or call 0871 230 1094.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Kate Bush premieres video for new single ‘Wild Man’ – video

Uncut
-
0
Kate Bush premieres video for new single ‘Wild Man’ – video
Kate Bush has debuted the video for her new single 'Wild Man', scroll down to the bottom of the page and click to watch it. The track, which was played for the first time earlier today on BBC Radio 2, is the first single to be released from the singer's new album '50 Words For Snow' and will be av...

Kate Bush has debuted the video for her new single ‘Wild Man’, scroll down to the bottom of the page and click to watch it.

The track, which was played for the first time earlier today on BBC Radio 2, is the first single to be released from the singer’s new album ’50 Words For Snow’ and will be available as a download from tomorrow (October 11).

’50 Words For Snow’ will be released on November 21 and is Bush’s 10th studio album, following her ‘Director’s Cut’ LP from May which re-worked versions of tracks from her 1989 record ‘The Sensual World’ and 1993’s ‘The Red Shoes’. It will also be her first album of entirely new material since the release of ‘Aerial’ in 2005.

It was recently revealed that comedian Stephen Fry and Elton John would feature on the LP, which is made up of just seven tracks but is 65 minutes in length, with each song set against the background of constant falling snow.

The tracklisting for ’50 Words For Snow’ is as follows:

‘Snowflake’

‘Lake Tahoe’

‘Misty’

‘Wildman’

‘Snowed In At Wheeler Street’

’50 Words For Snow’

‘Among Angels’

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

BJORK – BIOPHILIA

Uncut
-
0
BJORK – BIOPHILIA

Never let it be said – not that it ever is – that Björk Guðmundsdóttir lacks ambition. Since 1993’s Debut, Iceland’s most famous citizen has repeatedly stretched pop’s boundaries: electronica, jazz, choirs, Africana, classical orchestras, fashion, art and film have gone into her intoxicating mix, though what emerges is always unmistakably Björk. That octave-leaping voice alone – sometimes hushed, more often yelling, so it seems, from the top of a glacier – ensures her uniqueness, even before the latest crazy outfit is unveiled. Biophilia is über-Björk, weirder, wilder and way more ambitious than anything she’s attempted. Inevitably it’s not just an album but ‘a project’, one that involves interactive iPad apps for its 10 tracks, a set of invented instruments (among them a digital pipe organ and a spark-spewing Tesla-coil bass), a 90-minute movie documentary, plus the usual videos and remixes and a startling live show. It comes in five forms, from a modest CD to a hand-tooled oak box containing 10 colour-coded tuning forks (yours for £500). The concept that ties together this hoopla – which includes educational projects in science museums – is ‘an exploration of the universe and its physical forces’, the point where science, technology and music intersect. By way of an introduction comes no less than Sir David Attenborough, describing Biophilia the concept as “the love for nature from the tiniest organism to the greatest red giant in the farthest realm of the universe”. Astonishingly, Biophilia the album delivers just that, though in a way that will make science hardhats twitch; remember, everything that goes into the mix comes out Björked, even the life of the virus or the subterranean growth of crystals. The opener, “Moon”, for example, is only tangentially about lunar orbits and gravitational pull, instead it’s a song about starting anew, about being “all birthed and happy”, “adrenaline pearls” and “the lukewarm hands of the gods”. Not much science there, though there’s some beautiful harp-playing from Zeena Parkins, underpinned by faltering bass beats. For a high-concept album, Biophilia is surprisingly minimalist, its melodies picked out on chimes, pipe organ, harp and strings while Björk murmurs and wails above and programmed sub-bass lines stalk and growl below. The resultant atmospheres are stark and strange, propelling us into the cold vacuum of space on “Cosmogony” and plunging into the turbulent depths of earth on “Mutual Core”, where she sings of “tectonic plates in my chest”, turning a song about earthquake and volcanoes into a love song: “this eruption undoes stagnation/you didn’t know I had it in me.” Oh but we did! Over the years volcano Guðmondsdóttir has erupted regularly – “Pluto” from 1997’s Homogenic is something of a template for Biophilia – but Björk’s explosive side isn’t always her best, encouraging her to shout rather than sing. “Thunderbolt”, with its scary Tesla bass, is a case in point. More appealing and subtle are “Crystalline”, with its quirky melody and shuffling beats (and kid-friendly video), while “Virus” repeats the trick of turning science into love song, glockenspiels tinkling while Björk coos “as the protein transmutates I knock on your skin – and I am in”. Mostly, though, Björk reaches for strangeness. “Dark Matter” is appropriately mysterious, its organ droning like an off-key hymn while she delivers a quavering vocal. “Hollow” is equally weird, its ruminations on ancestry (“thread me on this chain, the everlasting necklace”) driven by a marching synth rooted in C20 classicism – Holst’s “Mars, Bringer of War” for example. Less foreboding is “Sacrifice”, another piece of offbeat instrumentation (a gamelan-like celeste keyboard) with clever lyrics about the abuse of mother nature. You may not be whistling these songs or dancing to them, but Biophilia’s unsettling visions are compelling art. Neil Spencer

Never let it be said – not that it ever is – that Björk Guðmundsdóttir lacks ambition. Since 1993’s Debut, Iceland’s most famous citizen has repeatedly stretched pop’s boundaries: electronica, jazz, choirs, Africana, classical orchestras, fashion, art and film have gone into her intoxicating mix, though what emerges is always unmistakably Björk. That octave-leaping voice alone – sometimes hushed, more often yelling, so it seems, from the top of a glacier – ensures her uniqueness, even before the latest crazy outfit is unveiled.

Biophilia is über-Björk, weirder, wilder and way more ambitious than anything she’s attempted. Inevitably it’s not just an album but ‘a project’, one that involves interactive iPad apps for its 10 tracks, a set of invented instruments (among them a digital pipe organ and a spark-spewing Tesla-coil bass), a 90-minute movie documentary, plus the usual videos and remixes and a startling live show. It comes in five forms, from a modest CD to a hand-tooled oak box containing 10 colour-coded tuning forks (yours for £500).

The concept that ties together this hoopla – which includes educational projects in science museums – is ‘an exploration of the universe and its physical forces’, the point where science, technology and music intersect. By way of an introduction comes no less than Sir David Attenborough, describing Biophilia the concept as “the love for nature from the tiniest organism to the greatest red giant in the farthest realm of the universe”.

Astonishingly, Biophilia the album delivers just that, though in a way that will make science hardhats twitch; remember, everything that goes into the mix comes out Björked, even the life of the virus or the subterranean growth of crystals. The opener, “Moon”, for example, is only tangentially about lunar orbits and gravitational pull, instead it’s a song about starting anew, about being “all birthed and happy”, “adrenaline pearls” and “the lukewarm hands of the gods”. Not much science there, though there’s some beautiful harp-playing from Zeena Parkins, underpinned by faltering bass beats.

For a high-concept album, Biophilia is surprisingly minimalist, its melodies picked out on chimes, pipe organ, harp and strings while Björk murmurs and wails above and programmed sub-bass lines stalk and growl below. The resultant atmospheres are stark and strange, propelling us into the cold vacuum of space on “Cosmogony” and plunging into the turbulent depths of earth on “Mutual Core”, where she sings of “tectonic plates in my chest”, turning a song about earthquake and volcanoes into a love song: “this eruption undoes stagnation/you didn’t know I had it in me.”

Oh but we did! Over the years volcano Guðmondsdóttir has erupted regularly – “Pluto” from 1997’s Homogenic is something of a template for Biophilia – but Björk’s explosive side isn’t always her best, encouraging her to shout rather than sing. “Thunderbolt”, with its scary Tesla bass, is a case in point. More appealing and subtle are “Crystalline”, with its quirky melody and shuffling beats (and kid-friendly video), while “Virus” repeats the trick of turning science into love song, glockenspiels tinkling while Björk coos “as the protein transmutates I knock on your skin – and I am in”.

Mostly, though, Björk reaches for strangeness. “Dark Matter” is appropriately mysterious, its organ droning like an off-key hymn while she delivers a quavering vocal. “Hollow” is equally weird, its ruminations on ancestry (“thread me on this chain, the everlasting necklace”) driven by a marching synth rooted in C20 classicism – Holst’s “Mars, Bringer of War” for example. Less foreboding is “Sacrifice”, another piece of offbeat instrumentation (a gamelan-like celeste keyboard) with clever lyrics about the abuse of mother nature. You may not be whistling these songs or dancing to them, but Biophilia’s unsettling visions are compelling art.

Neil Spencer

THE JESUS AND MARY CHAIN – REISSUES

Uncut
-
0
THE JESUS AND MARY CHAIN – REISSUES

Depending on your disposition, the Jesus And Mary Chain are either the founding fathers of every brave new rock revolution since the ’80s or the first harbingers of post-post-punk, canonical retrogression. But indubitably without Jim and William Reid there would be no Creation Records, no Primal Scream, no MBV, no Oasis, no Libertines, and, of course, no Viva Brother. Seizing the opportunity to gather up pretty much everything they’ve ever recorded before their back catalogue is cast to the winds of iTunes and Spotify, they now reissue their six studio albums, each with an additional disc of b-sides, sessions, remixes and demos, plus a DVD of videos and TV appearances. Funnily enough, the most intriguing part of these editions are the extended sleevenotes, comprising interviews with the Reid brothers, founder member Doug Hart, sometime band member, fellow traveller and cheerleader Bobby Gillespie, and pretty much every fly-by-night drummer, live guitarist and bassist. Notably there’s no Alan McGee. In a way the sleevenotes act as a poignant compliment or corrective to the self-aggrandising bluster of recent Creation doc Upside Down. You follow the Reids from the doleful reverie of their teens in East Kilbride through the brief glory days of Top Of The Pops, through the alcoholic shambles of promo tours, Lollapaloozas, sibling feuds to a final rueful reckoning. Most touching are the memories of endless days watching telly, taking acid in disused factories, slowly stitching together their canon of Nuggets, Velvets, Syd, Stooges, Shangri-Las, Suicide, and the Ramones, and plotting the ultimate rock’n’roll group. Characteristically, they only put these plans into action after five years dreaming, when their father gave them a couple of hundred quid of his redundancy pay-off to buy a portastudio. The additional disc of Psychocandy contains the most interesting unheard material on these discs, a full set of demos from ’83 and ’84 which help you understand why Gillespie, on first hearing them, thought that the Mary Chain must be some Suicidal synth duo. Actually the jangled, yearning “Up Too High” could almost be a pitchshifted Strawberry Switchblade demo, but first drafts of “Upside Down” and “Never Understand” anticipate by some years the drum machine and drones of ’89’s Automatic. It’s remarkable, however, how fully formed the early take on “Just Like Honey” is. Evidently in the five years of arguing and dreaming they’d planned things perfectly. All that remained was the execution. Of course chaos intervened – via Gillespie introducing them to McGee, fledgling clubrunner but already practised hype-merchant; with the screeching feedback that almost accidentally became their signature (the alternative, feedback-free Slaughter Joe mix of “Upside Down” isn’t included here); and with their scandalously shambolic, alcohol-fuelled live performances. Without this interference the Mary Chain might now be as fondly remembered as The Jasmine Minks or The Loft, and Alan McGee might be a mid-manager at Virgin Rail. Instead, it exploded into a Special Brew Supernova and the course of British indie rock was changed. The incendiary moment of Psychocandy was brief and the follow-ups yielded diminishing returns. The stoned acoustics and Lee Hazlewood languor of Darklands (’87) were a brave step back from the feedback brink, but to claw back commercial appeal Automatic was aimed slicky, squarely and anonymously at the heart of west-coast alt.rock radio. Honey’s Dead (’92) was a defiant attempt to play catch-up with their shoegaze heirs, but unlike Primal Scream they couldn’t convincingly make the leap into the ’90s. For Stoned & Dethroned (’94) they finally found their very own Nancy in the form of Hope Sandoval and tried to ride the tail wind of cosmic Americana, but by Munki (’98) they were beleagured and back on a Creation in its dying days. Hearing the Velvets for the first time in the early ’80s had been the Reids’ first inkling that they could combine their disparate passions (noise, squalor, melody, leather trousers) in one band. But unlike the Velvets the Mary Chain possessed neither the avant-garde adventure of John Cale nor the lyrical acuity of Lou Reed: like many mid-’80s indie bands they were like a VU made up of Sterling and Mo. Their beauty lies in stray moments rather than exhaustive archives: the unexpected rush of Side 2 of Psychocandy where they could still casually toss off a tune as immaculate as “My Little Underground”, the bubblegoth perfection of “Happy When It Rains”, the determinedly dumb desperation of “Sidewalking”, or, best of all, over the end of Lost In Translation, taking you by surprise all over again, guitars cascading down – like sun beams through the smoggy skies of Tokyo, like love in a memory, just like honey. Stephen Troussé

Depending on your disposition, the Jesus And Mary Chain are either the founding fathers of every brave new rock revolution since the ’80s or the first harbingers of post-post-punk, canonical retrogression. But indubitably without Jim and William Reid there would be no Creation Records, no Primal Scream, no MBV, no Oasis, no Libertines, and, of course, no Viva Brother.

Seizing the opportunity to gather up pretty much everything they’ve ever recorded before their back catalogue is cast to the winds of iTunes and Spotify, they now reissue their six studio albums, each with an additional disc of b-sides, sessions, remixes and demos, plus a DVD of videos and TV appearances. Funnily enough, the most intriguing part of these editions are the extended sleevenotes, comprising interviews with the Reid brothers, founder member Doug Hart, sometime band member, fellow traveller and cheerleader Bobby Gillespie, and pretty much every fly-by-night drummer, live guitarist and bassist.

Notably there’s no Alan McGee. In a way the sleevenotes act as a poignant compliment or corrective to the self-aggrandising bluster of recent Creation doc Upside Down. You follow the Reids from the doleful reverie of their teens in East Kilbride through the brief glory days of Top Of The Pops, through the alcoholic shambles of promo tours, Lollapaloozas, sibling feuds to a final rueful reckoning.

Most touching are the memories of endless days watching telly, taking acid in disused factories, slowly stitching together their canon of Nuggets, Velvets, Syd, Stooges, Shangri-Las, Suicide, and the Ramones, and plotting the ultimate rock’n’roll group. Characteristically, they only put these plans into action after five years dreaming, when their father gave them a couple of hundred quid of his redundancy pay-off to buy a portastudio.

The additional disc of Psychocandy contains the most interesting unheard material on these discs, a full set of demos from ’83 and ’84 which help you understand why Gillespie, on first hearing them, thought that the Mary Chain must be some Suicidal synth duo. Actually the jangled, yearning “Up Too High” could almost be a pitchshifted Strawberry Switchblade demo, but first drafts of “Upside Down” and “Never Understand” anticipate by some years the drum machine and drones of ’89’s Automatic. It’s remarkable, however, how fully formed the early take on “Just Like Honey” is. Evidently in the five years of arguing and dreaming they’d planned things perfectly. All that remained was the execution.

Of course chaos intervened – via Gillespie introducing them to McGee, fledgling clubrunner but already practised hype-merchant; with the screeching feedback that almost accidentally became their signature (the alternative, feedback-free Slaughter Joe mix of “Upside Down” isn’t included here); and with their scandalously shambolic, alcohol-fuelled live performances. Without this interference the Mary Chain might now be as fondly remembered as The Jasmine Minks or The Loft, and Alan McGee might be a mid-manager at Virgin Rail. Instead, it exploded into a Special Brew Supernova and the course of British indie rock was changed.

The incendiary moment of Psychocandy was brief and the follow-ups yielded diminishing returns. The stoned acoustics and Lee Hazlewood languor of Darklands (’87) were a brave step back from the feedback brink, but to claw back commercial appeal Automatic was aimed slicky, squarely and anonymously at the heart of west-coast alt.rock radio. Honey’s Dead (’92) was a defiant attempt to play catch-up with their shoegaze heirs, but unlike Primal Scream they couldn’t convincingly make the leap into the ’90s. For Stoned & Dethroned (’94) they finally found their very own Nancy in the form of Hope Sandoval and tried to ride the tail wind of cosmic Americana, but by Munki (’98) they were beleagured and back on a Creation in its dying days.

Hearing the Velvets for the first time in the early ’80s had been the Reids’ first inkling that they could combine their disparate passions (noise, squalor, melody, leather trousers) in one band. But unlike the Velvets the Mary Chain possessed neither the avant-garde adventure of John Cale nor the lyrical acuity of Lou Reed: like many mid-’80s indie bands they were like a VU made up of Sterling and Mo.

Their beauty lies in stray moments rather than exhaustive archives: the unexpected rush of Side 2 of Psychocandy where they could still casually toss off a tune as immaculate as “My Little Underground”, the bubblegoth perfection of “Happy When It Rains”, the determinedly dumb desperation of “Sidewalking”, or, best of all, over the end of Lost In Translation, taking you by surprise all over again, guitars cascading down – like sun beams through the smoggy skies of Tokyo, like love in a memory, just like honey.

Stephen Troussé

Lindsey Buckingham now says he doubts Fleetwood Mac will reunite in 2012

Uncut
-
0
Lindsey Buckingham now says he doubts Fleetwood Mac will reunite in 2012
Lindsey Buckingham has played down the chances of Fleetwood Mac reuniting in 2012. The guitarist, who is currently promoting his new solo album 'Seeds We Sow', had previously said that the band would most likely reunite next year for an album and tour, but has now said that this isn't especially l...

Lindsey Buckingham has played down the chances of Fleetwood Mac reuniting in 2012.

The guitarist, who is currently promoting his new solo album ‘Seeds We Sow’, had previously said that the band would most likely reunite next year for an album and tour, but has now said that this isn’t especially likely.

Asked by Ultimate Classic Rock about the chances of a 2012 Fleetwood Mac tour, Buckingham replied: “I would like to know what I’m doing next year. If you had asked me two months ago, I would have said ‘Absolutely.’ Now I’m not sure.”

The guitarist did confirm that the band would reunite in the future, but stressed that there were no concrete plans to record or tour as yet.

He added: “Yes, Fleetwood Mac will do something in the future. There’s just nothing on the books right now. This is a time for me to take stock all of the things I’ve done in my life, all the people I’ve been down the road with, and all the things I’ve experienced and just appreciate them. When you revisit them, you want all of these things to be in a place where they have dignity.”

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Classic photos of The Clash, Led Zeppelin on show in new exhibition

Uncut
-
0
Classic photos of The Clash, Led Zeppelin on show in new exhibition

A new exhibition featuring iconic photographs of the Clash, Led Zeppelin and Amy Winehouse among others, went on display on Wednesday (October 5). The exhibition, which is being put on by Sonic Editions in partnership with Uncut, takes place at London's Royal Albert Hall and will run until November 1. Admission is free. Among the other artists to feature in the exhibition are The Beatles, Sex Pistols, Johnny Cash, David Bowie, Jimi Hendrix, The White Stripes, Joy Division, Bob Dylan and Kurt Cobain. Uncut editor Allan Jones said of the exhibition: "Uncut is thrilled to be hosting this exhibition in collaboration with Sonic Editions and the Royal Albert Hall, one of London's best-loved venues. Great photography is as important to Uncut as great writing and The Uncut Collection brilliantly features images of many of rock's most enduring icons, and brilliantly celebrates their legends and the unforgettable music they've made across more than five decades." Prints of each of the photographs will also be available to buy with prices starting at £69. For more information about this, visit Soniceditions.com/RAH.

A new exhibition featuring iconic photographs of the Clash, Led Zeppelin and Amy Winehouse among others, went on display on Wednesday (October 5).

The exhibition, which is being put on by Sonic Editions in partnership with Uncut, takes place at London‘s Royal Albert Hall and will run until November 1. Admission is free.

Among the other artists to feature in the exhibition are The Beatles, Sex Pistols, Johnny Cash, David Bowie, Jimi Hendrix, The White Stripes, Joy Division, Bob Dylan and Kurt Cobain.

Uncut editor Allan Jones said of the exhibition: “Uncut is thrilled to be hosting this exhibition in collaboration with Sonic Editions and the Royal Albert Hall, one of London’s best-loved venues. Great photography is as important to Uncut as great writing and The Uncut Collection brilliantly features images of many of rock’s most enduring icons, and brilliantly celebrates their legends and the unforgettable music they’ve made across more than five decades.”

Prints of each of the photographs will also be available to buy with prices starting at £69. For more information about this, visit Soniceditions.com/RAH.

Lady Gaga in talks to become new singer of Queen

Uncut
-
0
Lady Gaga in talks to become new singer of Queen
Lady Gaga is "in talks" to tour with Queen as their singer, according to reports today (October 6). According to Queen guitarist Brian May, who collaborated with the singer on her recent single 'You & I', Gaga is someone who the band have approached to front them in the future. Speaking to t...

Lady Gaga is “in talks” to tour with Queen as their singer, according to reports today (October 6).

According to Queen guitarist Brian May, who collaborated with the singer on her recent single ‘You & I’, Gaga is someone who the band have approached to front them in the future.

Speaking to the Daily Express, May said that the band talk about touring together all the time, but still have to recruit a singer after parting ways with Paul Rodgers in 2009.

Asked about the possibility of Queen playing live again, May said: “We talk about going out on the road all the time but there’s a bit of a singer problem, to put it mildly. We get a lot of offers to work with other people. I worked with Lady Gaga and she’s very creative and is someone we’ve talked about singing, fronting the band with. She’s not just a singer, she writes her own material.”

May also said that the band are looking into the possibility of doing duets with a series of artists, perhaps in a TV show format.

He added: “We have talked about doing duets with other people and in a strange way I almost pressed the yes button. We were debating the idea of a TV show where we have all these guest stars. We didn’t press it today but we are still looking at it. Lady Gaga has said she would like to do something with us.”

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Primal Scream confuse themselves with The Dandy Warhols

Uncut
-
0
Primal Scream confuse themselves with The Dandy Warhols

The band were 'totally disgusted' by the Tories' use of 'Rocks', but they've got the wrong songPrimal Scream might have vented their fury at the Conservatives' use of their 1994 single 'Rocks' yesterday (October 5), but it turns out the track played was actually The Dandy Warhols' 'Bohemian Like You'. The band responded angrily to Twitter reports that Home Secretary Theresa May had left the stage to the song after her speech at the Conservative party conference in Manchester. They said they were "totally disgusted" to be associated with the Tories, issuing a statement to say that they felt the use of the track, with its lyrics about drugs, was "inappropriate". Part of the statement read: "Didn't they research the political history of our band? Hasn't she [Theresa May] listened to the words? Does she even know what getting your rocks off means? No. She is a Tory; how could she?" It went on to criticise the coalition government, calling them "legalised bullies", and continuing: "We would like to distance ourselves from this sick association. The Tories are waging a war on the disenfranchised, they are the enemy." But the official in charge of sound at the conference said that there were no Primal Scream tracks on the iPod used. The confusion seems to have stemmed from Labour MP Kerry McCarthy, who was tipped off by someone in the hall and posted a tweet about it, linking to the lyrics. After the truth came out about the real identity of the track, Mrs McCarthy said the two songs "admittedly sound similar". Latest music and film news on Uncut.co.uk. Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

The band were ‘totally disgusted’ by the Tories’ use of ‘Rocks’, but they’ve got the wrong songPrimal Scream might have vented their fury at the Conservatives’ use of their 1994 single ‘Rocks’ yesterday (October 5), but it turns out the track played was actually The Dandy Warhols‘ ‘Bohemian Like You’.

The band responded angrily to Twitter reports that Home Secretary Theresa May had left the stage to the song after her speech at the Conservative party conference in Manchester. They said they were “totally disgusted” to be associated with the Tories, issuing a statement to say that they felt the use of the track, with its lyrics about drugs, was “inappropriate”.

Part of the statement read: “Didn’t they research the political history of our band? Hasn’t she [Theresa May] listened to the words? Does she even know what getting your rocks off means? No. She is a Tory; how could she?”

It went on to criticise the coalition government, calling them “legalised bullies”, and continuing: “We would like to distance ourselves from this sick association. The Tories are waging a war on the disenfranchised, they are the enemy.”

But the official in charge of sound at the conference said that there were no Primal Scream tracks on the iPod used. The confusion seems to have stemmed from Labour MP Kerry McCarthy, who was tipped off by someone in the hall and posted a tweet about it, linking to the lyrics. After the truth came out about the real identity of the track, Mrs McCarthy said the two songs “admittedly sound similar”.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

1...665666667...1,273Page 666 of 1,273

SHOP UNCUT