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Bjork announces tracklisting for ‘Biophilia’

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Bjork announces tracklisting for ‘Biophilia’
Bjork has revealed the tracklisting for her seventh studio album 'Biophilia'. The album, which has a physical release date of September 27, features 10 tracks on the standard version, with a bonus of three more on the extended digipak edition. 'Biophilia' includes both 'Crystalline' and 'Virus',...

Bjork has revealed the tracklisting for her seventh studio album ‘Biophilia’.

The album, which has a physical release date of September 27, features 10 tracks on the standard version, with a bonus of three more on the extended digipak edition.

‘Biophilia’ includes both ‘Crystalline’ and ‘Virus’, both of which have been made available online. The album’s app version, ‘Biophilia App’ is already available from iTunes now.

The singer has also recently unveiled the Ultimate Box Set version of ‘Biophilia'[/url], which comes with very hefty price tag of £500. This version will include a lacquered and silkscreened oak-hinged lid case containing the ‘Biophilia’ manual, along with 10 chrome-plated tuning forks, silkscreened on one face in 10 different colours, stamped at the back, and presented in a flocked tray.

The manual will be 48 pages hardbound, cloth-covered and thread-sewn, and the package contains two audio CDs including the main album and additional exclusive recordings.

Bjork headlines the Sunday night at this year’s Bestival. She will play the Isle Of Wight event on September 11.

The tracklisting for ‘Biophilia’ is as follows:

‘Moon’

‘Thunderbolt’

‘Crystalline’

‘Cosmogony’

‘Dark Matter’

‘Hollow’

‘Virus’

‘Sacrifice’

‘Mutual Core’

‘Solstice’

‘Hollow’ (Original 7 Minute Version)*

‘Dark Matter’ (With Choir & Organ)*

‘Nattura’*

* These songs will only appear on the digipak version of ‘Biophilia’.

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 name collaborative LP ‘Lulu’

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Metallica and Lou Reed name collaborative LP ‘Lulu’
Metallica and Lou Reed have named their collaborative album 'Lulu' and confirmed it has been given a release date of October 31. The metal titans and the former Velvet Underground man have launched a joint website Loureedmetallica.com and have posted a lengthy update about 'Lulu'. They wrote of ...

Metallica and Lou Reed have named their collaborative album ‘Lulu’ and confirmed it has been given a release date of October 31.

The metal titans and the former Velvet Underground man have launched a joint website Loureedmetallica.com and have posted a lengthy update about ‘Lulu’.

They wrote of the album: “‘Lulu’ was inspired by German expressionist writer Frank Wededkind’s plays ‘Earth Spirit’ and ‘Pandora’s Box’, which tell a story of a young abused dancer’s life and relationships. Since their publication in the early 1900s, the plays have been the inspiration for a silent film, an opera, and countless other creative endeavors.”

It continues: “Originally the lyrics and musical landscape were sketched out by Lou for a theatrical production in Berlin, but after coming together with the Metallica boys for the Rock and Roll Hall of Fame concerts in New York in 2009 all guilty parties knew they wanted to make more music together. Lou was inspired enough by that performance to recently ask the band to join him in taking his theatrical ‘Lulu’ piece to the next level and so starting in early May of this year we were all camped out recording at HQ studios in Northern California, bringing us to today and ten complete songs.”

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.

HERE’S A HEALTH TO THE BARLEY MOW

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HERE’S A HEALTH TO THE BARLEY MOW

In a Suffolk pub, an announcer is calling the regulars to order with imposing gravitas. A Sunday drink and sing-song has slipped into a serious and necessary ritual, one that magically propitiates the harvest gods by wishing luck to all the measuring pots that will contain the beer, and by drinking a health to the dispensaries of this golden ale, the landlady and landlord, who obligingly beam into the camera as they work their infernal levers. This is the famous Ship Inn at Blaxhall, recorded in Here’s A Health To The Barley Mow (subtitled ‘A Century Of Folk Customs And Ancient Rural Games’, the 1952 documentary that gives the title to this magnificent two-disc collection that spans a century of British folkloric documentaries and short films. Surprisingly, nothing like it has ever been compiled before; in folkloric terms, this rich new hoard of Anglo-Saxon gold bears the same relation to today’s ‘folk’ – the likes of Mumford & Sons – as a Fulani death march does to the glossed world pop of Youssou N’Dour. It opens with some of the rarest and most delicate treasures of English folk heritage. Collectors Cecil Sharp, composer George Butterworth and their colleagues, Helen and Maud and Karpeles, were preserved in 1912 on Kinora spools, a kind of crude cinematic flip-book. These are the only known moving pictures of Sharp, and the foursome execute short sequences of country dancing, set to a new fiddle accompaniment by violinist Laurel Swift. There’s an endearing bumblingness about it, with Sharp and Butterworth colliding at one point and sharing a chuckle. I began my book Electric Eden with a description of seeing these films screened in London, with precisely the same live accompaniment, and the swooning sensation of time-travel it inspired. The sensation is hardly diminished on DVD, and the pleasure is enhanced by the new knowledge that these sequences were shot in the grounds of Kelmscott Manor, the ancient country pile once owned by William Morris. The two DVDs are divided into four themes: “Dances And Songs”, “Extreme Sports”, “Mummers And Hobbyhorses” and “All Manner Of Customs”. Among the first, we find films from the 1920s and ’30s, including the grotesquely endearing fiddler Sam Bennett leading roister-doisters in the grounds of Sir Peter de Montfort’s House near Henley, built in 1220 (the affluent owners stroll into the frame, feigning interest while picking at their rosebushes). The grittier High Spen Sword Dancers and Bacup Coconut Dancers display English folk dance with the bells off; dancers with sticks and swords creating fluctuating configurations that transmit geometric patterns through time immemorial. Much of the appeal comes from the weird ambiguity between the innocence and fun on show, and the way these mysterious ancient actions have temporarily possessed people, like a brain-colonising fungus. Wake Up And Dance, from 1950, rendered in ravishing vintage-postcard colour, was part of a propaganda drive for members by the The English Folk Dance and Song Society (EFDSS), showing a folk parade having a pied piper effect on the townsfolk. The sense of a portal to dream-Albion continues up to 1989’s The Flora Faddy Furry Dance Day, experimentally edited, intercutting Super-8 and rostrum shots of esoteric engravings with current footage of Britain’s largest folk fair in Helston, Cornwall. The ‘extreme sports’ and customs comprise a vast resource of glimpses of the unknown Britain, that occult, heathen country that sometimes pops into view in the novels of Thomas Hardy, films like The Wicker Man and Jez Butterworth’s play Jerusalem. Suffice to say that Tar Barrel Rolling In Ottery St Mary and The Burry Man Of South Queensferry, both shot around 2000, are some of the most atavistic pieces of film anywhere. But the set would be worth it on its own for the inclusion of two films produced by Peter Kennedy in the early 1950s, Walk In St George and the Alan Lomax-directed Oss Oss Old Oss. Filmed in Dorset and during Mayday celebrations in Padstow, Cornwall, these Technicolor shorts paint England’s village culture in wonderfully alien, yet radiant hues. The magic of it is, that these films show a Britain instinctively known but rarely seen. Like the folk process itself, it’s as much about reminding us how memories are created and prolonged, and learning to remember anew. You’ll never look at a morris dance the same way again. Rob Young Pic credit: Brian Shuel

In a Suffolk pub, an announcer is calling the regulars to order with imposing gravitas. A Sunday drink and sing-song has slipped into a serious and necessary ritual, one that magically propitiates the harvest gods by wishing luck to all the measuring pots that will contain the beer, and by drinking a health to the dispensaries of this golden ale, the landlady and landlord, who obligingly beam into the camera as they work their infernal levers.

This is the famous Ship Inn at Blaxhall, recorded in Here’s A Health To The Barley Mow (subtitled ‘A Century Of Folk Customs And Ancient Rural Games’, the 1952 documentary that gives the title to this magnificent two-disc collection that spans a century of British folkloric documentaries and short films. Surprisingly, nothing like it has ever been compiled before; in folkloric terms, this rich new hoard of Anglo-Saxon gold bears the same relation to today’s ‘folk’ – the likes of Mumford & Sons – as a Fulani death march does to the glossed world pop of Youssou N’Dour.

It opens with some of the rarest and most delicate treasures of English folk heritage. Collectors Cecil Sharp, composer George Butterworth and their colleagues, Helen and Maud and Karpeles, were preserved in 1912 on Kinora spools, a kind of crude cinematic flip-book. These are the only known moving pictures of Sharp, and the foursome execute short sequences of country dancing, set to a new fiddle accompaniment by violinist Laurel Swift. There’s an endearing bumblingness about it, with Sharp and Butterworth colliding at one point and sharing a chuckle. I began my book Electric Eden with a description of seeing these films screened in London, with precisely the same live accompaniment, and the swooning sensation of time-travel it inspired. The sensation is hardly diminished on DVD, and the pleasure is enhanced by the new knowledge that these sequences were shot in the grounds of Kelmscott Manor, the ancient country pile once owned by William Morris.

The two DVDs are divided into four themes: “Dances And Songs”, “Extreme Sports”, “Mummers And Hobbyhorses” and “All Manner Of Customs”. Among the first, we find films from the 1920s and ’30s, including the grotesquely endearing fiddler Sam Bennett leading roister-doisters in the grounds of Sir Peter de Montfort’s House near Henley, built in 1220 (the affluent owners stroll into the frame, feigning interest while picking at their rosebushes). The grittier High Spen Sword Dancers and Bacup Coconut Dancers display English folk dance with the bells off; dancers with sticks and swords creating fluctuating configurations that transmit geometric patterns through time immemorial. Much of the appeal comes from the weird ambiguity between the innocence and fun on show, and the way these mysterious ancient actions have temporarily possessed people, like a brain-colonising fungus.

Wake Up And Dance, from 1950, rendered in ravishing vintage-postcard colour, was part of a propaganda drive for members by the The English Folk Dance and Song Society (EFDSS), showing a folk parade having a pied piper effect on the townsfolk. The sense of a portal to dream-Albion continues up to 1989’s The Flora Faddy Furry Dance Day, experimentally edited, intercutting Super-8 and rostrum shots of esoteric engravings with current footage of Britain’s largest folk fair in Helston, Cornwall.

The ‘extreme sports’ and customs comprise a vast resource of glimpses of the unknown Britain, that occult, heathen country that sometimes pops into view in the novels of Thomas Hardy, films like The Wicker Man and Jez Butterworth’s play Jerusalem. Suffice to say that Tar Barrel Rolling In Ottery St Mary and The Burry Man Of South Queensferry, both shot around 2000, are some of the most atavistic pieces of film anywhere. But the set would be worth it on its own for the inclusion of two films produced by Peter Kennedy in the early 1950s, Walk In St George and the Alan Lomax-directed Oss Oss Old Oss. Filmed in Dorset and during Mayday celebrations in Padstow, Cornwall, these Technicolor shorts paint England’s village culture in wonderfully alien, yet radiant hues. The magic of it is, that these films show a Britain instinctively known but rarely seen. Like the folk process itself, it’s as much about reminding us how memories are created and prolonged, and learning to remember anew. You’ll never look at a morris dance the same way again.

Rob Young

Pic credit: Brian Shuel

THE SKIN I LIVE IN

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THE SKIN I LIVE IN
Directed by Pedro Almodóvar Starring Antonio Banderas, Elena Anaya There’s a strange Rubik’s Cube quality to the films of Pedro Almodóvar. From time to time, he will appear to be trying out entirely novel tricks – but then you look more closely and realise he’s reshuffled his favourite d...

Directed by Pedro Almodóvar

Starring Antonio Banderas, Elena Anaya

There’s a strange Rubik’s Cube quality to the films of Pedro Almodóvar. From time to time, he will appear to be trying out entirely novel tricks – but then you look more closely and realise he’s reshuffled his favourite devices into deceptive new combinations. At first glance, The Skin I Live In seems like something different – a Hitchcockian thriller with a discreet lacing of body horror. But look again, and you realise that this is a Frankensteinian recombination of elements from earlier Almodóvar films – among them, Tie Me Up! Tie Me Down! and Law Of Desire.

In fact, Almodóvar is quite overtly revisiting his past here, as he’s reunited with the first legitimate star that he launched – Antonio Banderas. Returning to his Spanish roots after years spoofing himself in Hollywood, Banderas plays Ledgard, a wealthy plastic surgeon. Since the death of his wife, Ledgard has been trying to resurrect her beauty using an artificial skin of his own devising. His guinea pig is a young woman called Vera (Elena Anaya), who is both his patient and his captive, and who skulks around her luxury prison in a slinky flesh-toned catsuit. But Vera’s not what she seems, and neither is the film, which, just as we feel we’re getting a grip on it, leaps into a perplexing flashback with a whole new set of characters.

Typically, Almodóvar delights in misleading us. The tense opening section seems to set us up for a sinister medical drama modelled on Georges Franju’s definitively eerie 1960 chiller Eyes Without A Face. Suddenly there comes a dash of louche sexual farce, as Vera encounters a muscular Brazilian no-gooder who turns up dressed in a tiger suit, complete with tail. And when Almodóvar finally lets us know what’s really happening, it’s with an outrageous twist – revealed by Banderas in a one-liner that will make your jaw drop with disbelief.

Only a singularly confident, stylish director can seduce us into accepting a film that veers between the mock-solemn and the outright facetious – and still convince us he’s spinning a coherent moral fable. Once again, Almodóvar is playing with themes of power, identity and sexuality in a way that will have his academic admirers champing at the bit, but he does it with an entertaining waywardness that recalls his more eccentric ’90s films such as High Heels. The leads are compellingly intense – not to say sexy, in a thoroughly unnerving way. Banderas embodies a sophisticated, even highbrow sort of thuggishness, while Anaya is mesmerisingly enigmatic. Her performance is all the more unsettling as Almodóvar appears to have altered her features digitally to give her the sort of perfect skin that Lloyd Cole could only have dreamed about.

Jonathan Romney

GENE CLARK: TWO SIDES TO EVERY STORY

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GENE CLARK: TWO SIDES TO EVERY STORY

By the time Gene Clark arrived at RSO Records, Robert Stigwood’s disco house supreme, in 1977, the decade had beaten him up pretty badly. Three superb solo albums – 1971’s stark White Light, 1972’s Roadmaster, and the most dazzlingly ambitious singer/songwriter album of all time, 1974’s No Other – had elicited barely a nod from critics or the general public. His family had disintegrated, and drink and drugs were constant demons. His fall from grace would soon accelerate, when he embarked on a star-crossed reunion with his Byrds mates in McGuinn, Clark & Hillman. The record Clark cooked up for RSO, Two Sides To Every Story, reflected the stress. Unfocused and misshapen, in places slick and staid, it offered up cover tunes, an old Dillard & Clark remake, and, in a take on Ronnie Hawkins’ ’50s-era smash “Marylou”, the single most awful cut in Clark’s oeuvre. This partly explains why it has been out of print since a CD reissue on PolyGram in the early ’90s. But there’s a reason why mint copies have been selling for up to £200 on eBay. Even with the chaos and missteps, this is a record that overcomes its flaws, offering moments of hard-won beauty and open-hearted grandeur from an artist fighting for his career. Though producer/sidekick Thomas Jefferson Kaye was held over from the No Other sessions, Clark ditched his best touring band ever –the raw, lonesome Silverados – as recording got underway. Instead, pros like singers Emmylou Harris and John Hartford, pedal-steel ace Al Perkins, Dixie Flyers’ guitarist Jerry McGee, and fiddler deluxe Byron Berline were drafted in. Doobie Brother Jeff “Skunk” Baxter stretched the classic Clark sound into Toto territory with flashy guitar. Yet despite all efforts to gussie up Clark’s sound into something tolerable for the FM-Top-40 crowd, Two Sides… was a record supremely out of time. With punk raging and disco poised for chart domination, “Home Run King” – a bluegrass homage to the innocence of youth and baseball great Babe Ruth – felt, for all its sly social commentary, hopelessly archaic, Norman Rockwell set to music. In the fullness of time, though, “Home Run King” and a fine cover of Leadbelly’s lonely “In The Pines,” both featuring Doug Dillard on banjo, provide a striking echo of the duo’s halcyon country-rock innovations circa 1968-70. “Lonely Saturday”, a straight honky-tonk weeper likewise mines arcane Americana for inspiration, auguring a mythical Nashville record that could’ve really been something. Ironically enough, when Clark does overtly recall his Dillard & Clark days, on a remake of the group’s railroad thumper “Kansas City Southern”, it’s a souped-up, hard-rock rendition, replete with syncopated rhythms and spiky guitar leads. While infectious, its R’n’B-style arrangement feels forced, the D&C version’s rustic country-soul evaporating into mere bar-band bluster. “Give My Love To Marie”, perhaps the only death-bed, black-lung ballad released on a major in 1977, cuts deeper. Amid Kaye’s dramatic strings, Clark leans into the teary emotion of this song – a traditional-style folk piece written by Woody Guthrie heir James Talley – with one of the best vocals of his career. Still, moralism was hardly Clark’s forte. It’s a song of concretes and absolutes – “There’s millions in the ground/Not a penny for me,” he croons in his vulnerable tenor – and Clark’s muse was far more effective hanging in the shadows, subtly confronting the mysteries of nature, time, love, and existence. Which is exactly where Clark takes the album proper on its staggering final three tracks. With its haunting melody and mournful chorus, “Hear The Wind” is Two Sides’ pivotal cut, and perhaps Clark’s most graceful ballad ever. Similar to “The True One” and White Light’s title track, this is Clark at the height of his poetic powers, wading deep into the psyche of desire, enlightenment and redemption. “Past Addresses” is grimmer still, a prayer for inner peace amid personal disintegration (“My words can’t slight the truth to you/Tomorrow every trial of life is going to fall,” warns its protagonist) that gives way to a wistful dénouement. “Silent Crusade,” which completes this trilogy, represents a catharsis of sorts, though it would be seven years until Clark’s next solo album. Less song than simple elegy for transcendence, it points to a lifting of burdens: “Please take me drifting far away,” he sing-speaks in almost ghostly fashion, “From the wordy and worldly explanation/Of the space we call today.” Luke Torn

By the time Gene Clark arrived at RSO Records, Robert Stigwood’s disco house supreme, in 1977, the decade had beaten him up pretty badly. Three superb solo albums – 1971’s stark White Light, 1972’s Roadmaster, and the most dazzlingly ambitious singer/songwriter album of all time, 1974’s No Other – had elicited barely a nod from critics or the general public. His family had disintegrated, and drink and drugs were constant demons. His fall from grace would soon accelerate, when he embarked on a star-crossed reunion with his Byrds mates in McGuinn, Clark & Hillman.

The record Clark cooked up for RSO, Two Sides To Every Story, reflected the stress. Unfocused and misshapen, in places slick and staid, it offered up cover tunes, an old Dillard & Clark remake, and, in a take on Ronnie Hawkins’ ’50s-era smash “Marylou”, the single most awful cut in Clark’s oeuvre. This partly explains why it has been out of print since a CD reissue on PolyGram in the early ’90s. But there’s a reason why mint copies have been selling for up to £200 on eBay. Even with the chaos and missteps, this is a record that overcomes its flaws, offering moments of hard-won beauty and open-hearted grandeur from an artist fighting for his career.

Though producer/sidekick Thomas Jefferson Kaye was held over from the No Other sessions, Clark ditched his best touring band ever –the raw, lonesome Silverados – as recording got underway. Instead, pros like singers Emmylou Harris and John Hartford, pedal-steel ace Al Perkins, Dixie Flyers’ guitarist Jerry McGee, and fiddler deluxe Byron Berline were drafted in. Doobie Brother Jeff “Skunk” Baxter stretched the classic Clark sound into Toto territory with flashy guitar.

Yet despite all efforts to gussie up Clark’s sound into something tolerable for the FM-Top-40 crowd, Two Sides… was a record supremely out of time. With punk raging and disco poised for chart domination, “Home Run King” – a bluegrass homage to the innocence of youth and baseball great Babe Ruth – felt, for all its sly social commentary, hopelessly archaic, Norman Rockwell set to music.

In the fullness of time, though, “Home Run King” and a fine cover of Leadbelly’s lonely “In The Pines,” both featuring Doug Dillard on banjo, provide a striking echo of the duo’s halcyon country-rock innovations circa 1968-70. “Lonely Saturday”, a straight honky-tonk weeper likewise mines arcane Americana for inspiration, auguring a mythical Nashville record that could’ve really been something.

Ironically enough, when Clark does overtly recall his Dillard & Clark days, on a remake of the group’s railroad thumper “Kansas City Southern”, it’s a souped-up, hard-rock rendition, replete with syncopated rhythms and spiky guitar leads. While infectious, its R’n’B-style arrangement feels forced, the D&C version’s rustic country-soul evaporating into mere bar-band bluster.

“Give My Love To Marie”, perhaps the only death-bed, black-lung ballad released on a major in 1977, cuts deeper. Amid Kaye’s dramatic strings, Clark leans into the teary emotion of this song – a traditional-style folk piece written by Woody Guthrie heir James Talley – with one of the best vocals of his career. Still, moralism was hardly Clark’s forte. It’s a song of concretes and absolutes – “There’s millions in the ground/Not a penny for me,” he croons in his vulnerable tenor – and Clark’s muse was far more effective hanging in the shadows, subtly confronting the mysteries of nature, time, love, and existence.

Which is exactly where Clark takes the album proper on its staggering final three tracks. With its haunting melody and mournful chorus, “Hear The Wind” is Two Sides’ pivotal cut, and perhaps Clark’s most graceful ballad ever. Similar to “The True One” and White Light’s title track, this is Clark at the height of his poetic powers, wading deep into the psyche of desire, enlightenment and redemption. “Past Addresses” is grimmer still, a prayer for inner peace amid personal disintegration (“My words can’t slight the truth to you/Tomorrow every trial of life is going to fall,” warns its protagonist) that gives way to a wistful dénouement.

“Silent Crusade,” which completes this trilogy, represents a catharsis of sorts, though it would be seven years until Clark’s next solo album. Less song than simple elegy for transcendence, it points to a lifting of burdens: “Please take me drifting far away,” he sing-speaks in almost ghostly fashion, “From the wordy and worldly explanation/Of the space we call today.”

Luke Torn

STEPHEN MALKMUS & THE JICKS: MIRROR TRAFFIC

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STEPHEN MALKMUS & THE JICKS: MIRROR TRAFFIC

When Stephen Malkmus bequeaths his notebooks and journals to the University Of Texas, as surely he must, what textual labyrinths await poring scholars! Straggly, scribbled soups, no doubt, of glorious nonsequiturs, goofily derailed cliché, bold insertions of modern-day lingo and doodle-strewn couplets. Malkmus is a kind of David Foster Wallace of Amerindie – each string of songs hotwired with their own internal logic boards, never tied together conceptually, pathologically digressive. Only when you listen closer, try to ‘get’ the song, do you realise that few of the lines actually fit together at all – it’s more as if Malkmus has snipped and pasted jottings from a crazed commonplace book or dream diary. But hey. Don’t beat yourself up about it. Just go with the slackbrain flow and you’ll be fine. It’s incredible to think that Slanted And Enchanted, the album that put Pavement on the map, was recorded 20 years ago. While Malkmus was out on the road with the reformed group last year, he also found time to tape Mirror Traffic, the fifth album by the band that, he’s claimed, is named according to the equation: “J from Jagger, plus Mick minus M”. While The Jicks corrall some of the best elements of American rock from the past four decades, ultimately they revive and occasionally extend Malkmus’ past achievements. Like The Fall, each album simultaneously answers expectations and slightly defies them. Also as usual, there are plenty of references to the process of making music itself – Kaoss Pads and distortion (“Asking Price”), the audience (“Fall Away”), toting guitars and riding in tour vans (“Senator”). Most strikingly, Mirror Traffic contains some of Malkmus’ most gripping guitar playing for ages, and there’s plenty of space allocated to his eely, vermiform lead lines that ooze into just about every song after the lyrics have wrapped up. He’s ably abetted by regular lineup of Joanna Bolme (bass), Mike Clark (keyboards and guitar) and Janet Weiss, the superb ex-Quasi/Sleater-Kinney drummer who’s sadly surrendering her Jicks badge with this release. Malkmus had me at “I caught you streaking in your Birkenstocks”, the first line of opener “Tigers”. Most of his vocals were laid down in a single day – the evidence is on “Stick Figures In Love”, where he seems to invent a line that doesn’t quite work and snortingly cracks up. Beck Hansen, who produced Thurston Moore’s recent, excellent Demolished Thoughts, flies the desk here, too, lending some kind of invisible clarity to the overall ambience. As on Moore’s album, it’s difficult to discern exactly what he’s done, but efforts have been made to lift it somewhere just above four dweebs rocking out in a smelly room. The group themselves sound relaxed and confident, stretching out in the slower numbers like “No One (Is As I Are Be)” and “Share The Red”. They even see fit to include a short instrumental fragment, “Jumblegloss”, which begins like some lost Cocteau Twins demo and fades out over swinging jazz drums. Malkmus tucks in some great one-liners: “I’m a 1-800 You-Can-Vent”(“Tigers”); “I ‘heart’ the part when you play the concerned friend” and “Sit-ups are so bourgeoisie” (“No One…”); “Sweet little peppercorn, I want out of your pie” (“All Over Gently”). On the laser-sharp “Senator”, Malkmus snarls a refrain about weapons-grade sludge for migrants and senators wanting blowjobs. This zesty anti-anthem, in the mould of LCD Soundsystem’s “North American Scum”, gets as close as Malkmus ever has to a perceptible political rage. And on “Asking Price” – “Too busy putzin’ round the internet/Revel in the disconnect” – he may be making an oblique point about misplaced faith in technology. But the album doesn’t allow many pauses for reflection. “Tune Grief” screeches off the block like Jonathan Richman at the helm of a bulldozer. Clark’s electric piano and theremin lend sarcastic tinges to “All Over Gently”’s sardonic relationship brush-off, and its skittering structure comes closest to Pavement’s demolition-derby approach to keeping the beat. “Long Hard Book” is one of several slower paced semi-acoustic tracks, with a pedal-steel frosting and an extraordinary treated-guitar coda. That’s Mirror Traffic, then: consistently entertaining, beautifully recorded, enough lyrical Malkmusings to occupy a generation of decoders, plus it rocks. A caveat? That perhaps that formidable intelligence might occasionally be more directed; that all the fragmentary crosstalk and canny snark might strive to get to a place beyond the disconnect – to a place where we can see not just the grin, but also the cat behind it. Rob Young

When Stephen Malkmus bequeaths his notebooks and journals to the University Of Texas, as surely he must, what textual labyrinths await poring scholars!

Straggly, scribbled soups, no doubt, of glorious nonsequiturs, goofily derailed cliché, bold insertions of modern-day lingo and doodle-strewn couplets. Malkmus is a kind of David Foster Wallace of Amerindie – each string of songs hotwired with their own internal logic boards, never tied together conceptually, pathologically digressive. Only when you listen closer, try to ‘get’ the song, do you realise that few of the lines actually fit together at all – it’s more as if Malkmus has snipped and pasted jottings from a crazed commonplace book or dream diary. But hey. Don’t beat yourself up about it. Just go with the slackbrain flow and you’ll be fine.

It’s incredible to think that Slanted And Enchanted, the album that put Pavement on the map, was recorded 20 years ago. While Malkmus was out on the road with the reformed group last year, he also found time to tape Mirror Traffic, the fifth album by the band that, he’s claimed, is named according to the equation: “J from Jagger, plus Mick minus M”. While The Jicks corrall some of the best elements of American rock from the past four decades, ultimately they revive and occasionally extend Malkmus’ past achievements. Like The Fall, each album simultaneously answers expectations and slightly defies them. Also as usual, there are plenty of references to the process of making music itself – Kaoss Pads and distortion (“Asking Price”), the audience (“Fall Away”), toting guitars and riding in tour vans (“Senator”). Most strikingly, Mirror Traffic contains some of Malkmus’ most gripping guitar playing for ages, and there’s plenty of space allocated to his eely, vermiform lead lines that ooze into just about every song after the lyrics have wrapped up. He’s ably abetted by regular lineup of Joanna Bolme (bass), Mike Clark (keyboards and guitar) and Janet Weiss, the superb ex-Quasi/Sleater-Kinney drummer who’s sadly surrendering her Jicks badge with this release.

Malkmus had me at “I caught you streaking in your Birkenstocks”, the first line of opener “Tigers”. Most of his vocals were laid down in a single day – the evidence is on “Stick Figures In Love”, where he seems to invent a line that doesn’t quite work and snortingly cracks up. Beck Hansen, who produced Thurston Moore’s recent, excellent Demolished Thoughts, flies the desk here, too, lending some kind of invisible clarity to the overall ambience. As on Moore’s album, it’s difficult to discern exactly what he’s done, but efforts have been made to lift it somewhere just above four dweebs rocking out in a smelly room. The group themselves sound relaxed and confident, stretching out in the slower numbers like “No One (Is As I Are Be)” and “Share The Red”. They even see fit to include a short instrumental fragment, “Jumblegloss”, which begins like some lost Cocteau Twins demo and fades out over swinging jazz drums.

Malkmus tucks in some great one-liners: “I’m a 1-800 You-Can-Vent”(“Tigers”); “I ‘heart’ the part when you play the concerned friend” and “Sit-ups are so bourgeoisie” (“No One…”); “Sweet little peppercorn, I want out of your pie” (“All Over Gently”). On the laser-sharp “Senator”, Malkmus snarls a refrain about weapons-grade sludge for migrants and senators wanting blowjobs. This zesty anti-anthem, in the mould of LCD Soundsystem’s “North American Scum”, gets as close as Malkmus ever has to a perceptible political rage. And on “Asking Price” – “Too busy putzin’ round the internet/Revel in the disconnect” – he may be making an oblique point about misplaced faith in technology. But the album doesn’t allow many pauses for reflection. “Tune Grief” screeches off the block like Jonathan Richman at the helm of a bulldozer. Clark’s electric piano and theremin lend sarcastic tinges to “All Over Gently”’s sardonic relationship brush-off, and its skittering structure comes closest to Pavement’s demolition-derby approach to keeping the beat. “Long Hard Book” is one of several slower paced semi-acoustic tracks, with a pedal-steel frosting and an extraordinary treated-guitar coda.

That’s Mirror Traffic, then: consistently entertaining, beautifully recorded, enough lyrical Malkmusings to occupy a generation of decoders, plus it rocks. A caveat? That perhaps that formidable intelligence might occasionally be more directed; that all the fragmentary crosstalk and canny snark might strive to get to a place beyond the disconnect – to a place where we can see not just the grin, but also the cat behind it.

Rob Young

Pearl Jam unveil tracklisting for ‘Twenty’ documentary soundtrack

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Pearl Jam unveil tracklisting for ‘Twenty’ documentary soundtrack
Pearl Jam have unveiled the tracklisting for their 'Twenty' documentary soundtrack. The compilation, which is split into two discs, features 15 live recordings on the first disc and a further 15 B-sides, demos and rarities on the second disc. It has been given a release date of September 19, the d...

Pearl Jam have unveiled the tracklisting for their ‘Twenty’ documentary soundtrack.

The compilation, which is split into two discs, features 15 live recordings on the first disc and a further 15 B-sides, demos and rarities on the second disc. It has been given a release date of September 19, the day before the documentary will be shown in cinemas across the country.

The film, which has been directed by Almost Famous man Cameron Crowe, has been cut from 1,200 hours of rare footage and features recent interviews with the band members and live concert clips.

A book, also called Pearl Jam Twenty, will be released on September 12. Compiled and written by Jonathan Cohen with Mark Wilkerson, the book includes a foreword by Cameron Crowe as well as interviews with Bruce Springsteen, Neil Young and Dave Grohl.

The tracklisting for the ‘Twenty Official Soundtrack’ is as follows:

Pearl Jam Twenty (Disc One)

‘Release’

‘Alive’

‘Garden’

‘Why Go’

‘Black’

‘Blood’

‘Last Exit’

‘Not For You’

‘Do The Evolution’

‘Thumbing My Way’

‘Crown Of Thorns’

‘Let Me Sleep’

‘Walk With Me’

‘Just Breathe’

Disc Two (Rarities and Inspiration)

‘Say Hello 2 Heaven’

‘Times Of Trouble’

‘Acoustic #1’

‘It Ain’t Like That’

‘Need To Know’

‘Be Like Wind’

‘Given To Fly’

‘Nothing As It Seems’ (Demo version)

‘Nothing As It Seems’ (Live version)

‘Indifference’

‘Of The Girl’

‘Faithfull’

‘Bu$hleaguer’

‘Better Man’

‘Rearviewmirror’

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Bon Iver and James Blake set to collaborate

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Bon Iver and James Blake set to collaborate
Bon Iver and James Blake are set to collaborate on a project entitled ‘Fall Creek Boys Choir’. Brit Blake announced the news via his Twitter account, though has so far been scant on the details about what form the project will take. Fall Creek however is the name of the town in which Justin Ve...

Bon Iver and James Blake are set to collaborate on a project entitled ‘Fall Creek Boys Choir’.

Brit Blake announced the news via his Twitter account, though has so far been scant on the details about what form the project will take. Fall Creek however is the name of the town in which Justin Vernon of Bon Iver owns a studio.

The tweet simply reads: “24th August 2011 – James Blake & Bon Iver ‘Fall Creek Boys Choir'”.

Bon Iver recently covered Peter Gabriel‘s ‘Come Talk To Me’ for the B-side to the band’s new single ‘Holocene’. Watch the video for ‘Holocene’ below. Directed by Nabil Elderkin, the video was shot on location in Iceland.

Says Elderkin of the video: “That place is the most magical place in the world, it looked like Mars to me, so I always wanted to shoot there.” The 12” version of the single is released on September 5.

Bon Iver are set to embark on their biggest UK tour to date this October. The tour is totally sold out.

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Sigur Rós to release live album and film

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Sigur Rós to release live album and film
Sigur Ros are set to release a double live album and film from their last shows, which took place in 2008 at Alexandra Palace in London. 'Inni' will be released this November through the band’s label Krunk and documents the Icelandic group's final two shows before going on their 'indefinite hiatu...

Sigur Ros are set to release a double live album and film from their last shows, which took place in 2008 at Alexandra Palace in London.

‘Inni’ will be released this November through the band’s label Krunk and documents the Icelandic group’s final two shows before going on their ‘indefinite hiatus’ at the end of their world tour following the release of their fifth album. The live release features the whole show, with just one song omitted. The accompanying 75-minute film – directed by Vincent Morisset – will debut at the Venice Film Festival on September 3.

Inni is the band’s second live film, the first being 2007’s Heima, which documented a tour of their native Iceland. Director Morisset re-filmed the original digital footage on 16mm film, which was then refilmed again, through prisms and found objects. Footage of the band from 1998 onwards also features in the film.

The exact release date of ‘Inni’ will be revealed later in the year.

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Amy Winehouse’s Tony Bennett duet to help raise funds for her foundation

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Amy Winehouse’s Tony Bennett duet to help raise funds for her foundation
Amy Winehouse's duet with Tony Bennett is set to raise funds for the late singer's self-titled drug treatment foundation proposed by her family. The track 'Body And Soul' which is set to feature on Bennett's 'Duets II' album, out on September 19,was recorded with Winehouse at EMI's London Abbey Roa...

Amy Winehouse‘s duet with Tony Bennett is set to raise funds for the late singer’s self-titled drug treatment foundation proposed by her family.

The track ‘Body And Soul’ which is set to feature on Bennett’s ‘Duets II’ album, out on September 19,was recorded with Winehouse at EMI’s London Abbey Road studios.

Speaking about the recording sessions he told Billboard: “She was a little apprehensive about how to go about it, and I said to her, ‘I may be wrong, but it sounds like you’re influenced by Dinah Washington‘ and that just blew her mind. She just said, ‘Oh my God, you mean you can actually hear that? She’s my idol’ And that relaxed her, and that’s the record we ended up making.”

He also said he tried to help her during her troubles leading up to her death. Bennett added: “I was convinced I would be able to help her and talk her out of… taking drugs. The foundation is a great way to turn something positive out of this.”

The song will be the first recorded output to feature Winehouse‘s voice since she provided vocals for Mark Ronson‘s cover of The Zutons‘ ‘Valerie’ in 2007.

Other artists on the album include Lady Gaga, Sheryl Crow and Mariah Carey.

Meanwhile, Winehouse‘s father Mitch will meet members of the Government to discuss plans to set up the rehabilitation centre today (August 18).

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Nirvana’s Krist Novoselic to perform ‘Nevermind’ in its entirety

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Nirvana’s Krist Novoselic to perform ‘Nevermind’ in its entirety

As part of the 20th anniversary celebrations for Nirvana’s seminal 1991 record ‘Nevermind’, the album will be performed live by former bassist Krist Novoselic. Novoselic will be joined by a number of local musicians to perform the album at the show at the Sky Church at the Experience Music Project in Seattle on September 20, reports Pitchfork. The Fastbacks, The Long Winters, Vaporland, Visqueen, Campfire OK, Valis – which feature former members of Screaming Trees - and Ravenna Woods. Apparently it is unlikely that Dave Grohl will appear at the show as Foo Fighters are playing a show on the same night in Cleveland. A special exhibition to celebrate 20 years of Nirvana's 'Nevermind' is set for September in London. For more information, visit Nirvanaexhibition.com. 'Nevermind' will be reissued on September 19. The Super Deluxe Edition of the album comes with a raft of rarities and remixes across its four CDs and one DVD. Only 10,000 copies of the Super Deluxe Version of the album will be released in North America, with another 30,000 for the rest of the world, including the UK. 'Nevermind' has sold over 30 million copies in the two decades since its release. It was the second studio album from Nirvana, the iconic grunge band made up of the late Kurt Cobain, Krist Novoselic and Foo Fighters mainman Dave Grohl. 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.

As part of the 20th anniversary celebrations for Nirvana’s seminal 1991 record ‘Nevermind’, the album will be performed live by former bassist Krist Novoselic.

Novoselic will be joined by a number of local musicians to perform the album at the show at the Sky Church at the Experience Music Project in Seattle on September 20, reports Pitchfork.

The Fastbacks, The Long Winters, Vaporland, Visqueen, Campfire OK, Valis – which feature former members of Screaming Trees – and Ravenna Woods. Apparently it is unlikely that Dave Grohl will appear at the show as Foo Fighters are playing a show on the same night in Cleveland.

A special exhibition to celebrate 20 years of Nirvana‘s ‘Nevermind’ is set for September in London. For more information, visit Nirvanaexhibition.com.

‘Nevermind’ will be reissued on September 19. The Super Deluxe Edition of the album comes with a raft of rarities and remixes across its four CDs and one DVD.

Only 10,000 copies of the Super Deluxe Version of the album will be released in North America, with another 30,000 for the rest of the world, including the UK.

‘Nevermind’ has sold over 30 million copies in the two decades since its release. It was the second studio album from Nirvana, the iconic grunge band made up of the late Kurt Cobain, Krist Novoselic and Foo Fighters mainman Dave Grohl.

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.

Tom Waits to release first new material in seven years

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Tom Waits to release first new material in seven years

Legendary bluesman Tom Waits is set to make an announcement regarding the release of his first new material in seven years. Waits' last solo release was 2004’s ‘Real Gone’, which was co-produced by Waits and his wife Kathleen Brennan. He has now given clues as to new music on Tomwaits.com with a post that reads: "There have been rumblings and rumors. New music from Tom Waits, you say? Come to Tomwaits.com on Tuesday August 23rd, and Mr. Waits himself will set the record straight." However, the singer’s special announcement may have been inadvertently rumbled by information on Amazon. The music vending website has set up a pre-order page for a new Tom Waits track called 'Bad As Me', which will be released on August 23, the day of Waits' announcement. The listing page also features the single artwork and reveals that the track is three minutes 10 seconds long. There have been suggestions that the track will also share the name of Waits' rumoured new album. 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.

Legendary bluesman Tom Waits is set to make an announcement regarding the release of his first new material in seven years.

Waits‘ last solo release was 2004’s ‘Real Gone’, which was co-produced by Waits and his wife Kathleen Brennan. He has now given clues as to new music on Tomwaits.com with a post that reads: “There have been rumblings and rumors. New music from Tom Waits, you say? Come to Tomwaits.com on Tuesday August 23rd, and Mr. Waits himself will set the record straight.”

However, the singer’s special announcement may have been inadvertently rumbled by information on Amazon.

The music vending website has set up a pre-order page for a new Tom Waits track called ‘Bad As Me’, which will be released on August 23, the day of Waits‘ announcement.

The listing page also features the single artwork and reveals that the track is three minutes 10 seconds long. There have been suggestions that the track will also share the name of Waits‘ rumoured new album.

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.

London to host exhibition to celebrate 20th anniversary of Nirvana’s ‘Nevermind’

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London to host exhibition to celebrate 20th anniversary of Nirvana’s ‘Nevermind’

A special exhibition to celebrate 20 years of Nirvana's 'Nevermind' is set for September. Alongside photos, memorabilia and various artifacts relating to the band and the album, the exhibition will also display contributions from fans, which they are currently sourcing. Set to 'highlight the unique relationship the band enjoyed with their UK fans', people are being asked to send photos and descriptions of anything they think would work well in the exhibition to the curators. For more information on how to contribute, visit Nirvanaexhibition.com. The exhibition will take place at The Loading Bay Gallery on Brick Lane. Exact dates are yet to be released, but it will take place in September, the same month that 'Nevermind' is reissued. The Super Deluxe Edition of the album will be released on September 19, and comes with a raft of rarities and remixes across its four CDs and one DVD. These include the full remastered album, accompanying studio and live B-sides, rehearsal takes and the first full official release of producer Butch Vig's pre-album demos recorded at Smart Studios. A new perspective on the album is offered in the form of the 'Devonshire Mixes' - a Vig mix of the album that differs to original mixer Andy Wallace's version. Live recordings of BBC sessions and the band's 1991 show at the Paramount Theatre in hometown Seattle - the only known Nirvana gig shot to film - are also included, along with a 90-page bound book of rare photos and artefacts from the 'Nevermind' era. Only 10,000 copies of the Super Deluxe Version of the album will be released in North America, with another 30,000 for the rest of the world, including the UK. 'Nevermind' has sold over 30 million copies in the two decades since its release. It was the second studio album from Nirvana, the iconic grunge band made up of the late Kurt Cobain, Krist Novoselic and Foo Fighters mainman Dave Grohl. 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.

A special exhibition to celebrate 20 years of Nirvana‘s ‘Nevermind’ is set for September.

Alongside photos, memorabilia and various artifacts relating to the band and the album, the exhibition will also display contributions from fans, which they are currently sourcing. Set to ‘highlight the unique relationship the band enjoyed with their UK fans’, people are being asked to send photos and descriptions of anything they think would work well in the exhibition to the curators. For more information on how to contribute, visit Nirvanaexhibition.com.

The exhibition will take place at The Loading Bay Gallery on Brick Lane. Exact dates are yet to be released, but it will take place in September, the same month that ‘Nevermind’ is reissued. The Super Deluxe Edition of the album will be released on September 19, and comes with a raft of rarities and remixes across its four CDs and one DVD.

These include the full remastered album, accompanying studio and live B-sides, rehearsal takes and the first full official release of producer Butch Vig‘s pre-album demos recorded at Smart Studios.

A new perspective on the album is offered in the form of the ‘Devonshire Mixes’ – a Vig mix of the album that differs to original mixer Andy Wallace‘s version.

Live recordings of BBC sessions and the band’s 1991 show at the Paramount Theatre in hometown Seattle – the only known Nirvana gig shot to film – are also included, along with a 90-page bound book of rare photos and artefacts from the ‘Nevermind’ era.

Only 10,000 copies of the Super Deluxe Version of the album will be released in North America, with another 30,000 for the rest of the world, including the UK.

‘Nevermind’ has sold over 30 million copies in the two decades since its release. It was the second studio album from Nirvana, the iconic grunge band made up of the late Kurt Cobain, Krist Novoselic and Foo Fighters mainman Dave Grohl.

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.

Watch a previously unseen Smiths documentary

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Watch a previously unseen Smiths documentary
A previously unseen Smiths documentary has been posted online, scroll down to the bottom of the page and click to watch it. The documentary was originally released in 1992 and is thought to have been commissioned by the band's label Rough Trade to be given out to the press to support the release of...

A previously unseen Smiths documentary has been posted online, scroll down to the bottom of the page and click to watch it.

The documentary was originally released in 1992 and is thought to have been commissioned by the band’s label Rough Trade to be given out to the press to support the release of their ‘Best Of’ compilation.

The promo has been released by Rhino, the UK label which is handling the re-issuing of the Smiths‘ entire back catalogue.

The reissues, which have been put together under the supervision of guitarist Johnny Marr, have been digitally remastered from their original tapes. The whole collection is due for release on September 26.

The albums set for release include the band’s four studio LPS, 1984’s self-titled album, 1985’s ‘Meat Is Murder’, 1986’s ‘The Queen Is Dead’ and their final studio album ‘Strangeways, Here We Come’, which came out in 1987.

The band’s 1988 live album ‘Rank’ and compilations ‘Hatful Of Hollow’, which came out in 1984, 1987’s ‘The World Won’t Listen’ and ‘Louder Than Bombs’ are also being reissued.

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Patti Smith to write screenplay based on her book ‘Just Kids’

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Patti Smith to write screenplay based on her book ‘Just Kids’
Patti Smith is set to adapt her best-selling book Just Kids for the big screen. The punk poet and songwriter will work with Oscar nominated screenwriter John Logan on the screenplay, which they are writing on spec, rather than for a distributor, reports Deadline.com. The book – which is based on...

Patti Smith is set to adapt her best-selling book Just Kids for the big screen.

The punk poet and songwriter will work with Oscar nominated screenwriter John Logan on the screenplay, which they are writing on spec, rather than for a distributor, reports Deadline.com.

The book – which is based on Smith‘s relationship with the late photographer Robert Mapplethorpe – won the 2010 National Book Award for Non-Fiction over in the United States.

Patti Smith is to release a new ‘Greatest Hits’ compilation on September 12. The 18 track long ‘Outside Society’ spans Smith‘s entire body of work, from her 1975 debut all the way to her cover of Nirvana‘s Smells Like Teen Spirit in 2007. The special package will also feature brief recollections of each song written by Smith herself.

Smith has released ten studio albums across her career, the latest being ‘Twelve’ in 2007, which was a collection of cover versions of songs by artists including Jimi Hendrix, The Rolling Stones and REM.

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Spider-Man actor Reeve Carney cast as Jeff Buckley in biopic

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Spider-Man actor Reeve Carney cast as Jeff Buckley in biopic
Reeve Carney, the actor currently starring as Peter Parker in the Broadway musical version of Spider-Man: Turn Off The Dark, has been cast as Jeff Buckley in the much discussed biopic of the singer's short life. Speculation about who would play Buckley has continued for years, with Twilight star Ro...

Reeve Carney, the actor currently starring as Peter Parker in the Broadway musical version of Spider-Man: Turn Off The Dark, has been cast as Jeff Buckley in the much discussed biopic of the singer’s short life.

Speculation about who would play Buckley has continued for years, with Twilight star Robert Pattinson and Milk star James Franco all thought to be in the frame at one time, but it has been announced today (August 16) that Carney has been tapped to play the singer.

The biopic, which will look at the singer’s life right up until his death at the age of 30, is being executive produced by Buckley‘s mother Mary Guibert.

Guibert said of Carney‘s casting: “We are over the moon that Reeve has agreed to take on this challenging role. He’s been getting ready for this all his life. It certainly doesn’t hurt that he looks so much like Jeff.”

The film’s director Jake Scott, who has previously been behind the camera on Plunkett And Macleane and Welcome To The Rileys, said of the actor: “We are excited to have found in Reeve the perfect combination of musical prodigy, impish charm, innate intelligence and sensitivity to play Jeff.”

Shooting is expected to begin next year.

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

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David Bowie has ‘retired’, claims biographer

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David Bowie has ‘retired’, claims biographer
David Bowie has 'most likely' retired from making music, according to his biographer. Paul Trynka, who has penned a new book about the singer which is titled Starman, has said he believes Bowie, who has not released an album since 2003's 'Reality', will only return if he "can deliver something sei...

David Bowie has ‘most likely’ retired from making music, according to his biographer.

Paul Trynka, who has penned a new book about the singer which is titled Starman, has said he believes Bowie, who has not released an album since 2003’s ‘Reality’, will only return if he “can deliver something seismic”.

Speaking to Spinner, the writer was asked if he thought Bowie would ever return to the studio and stage, to wihch he replied by saying: “My heart says he’ll come back. But my head says he’s likely not to. I think he would only come back if he thinks he could deliver something that will be seismic. If you pop back into the stage, it’s got to be something that has a big explosion and lots of flashes. It would be a bit of a miracle if he comes back, but miracles do happen.”

Bowie has not played live since 2006, when he sang onstage with Alicia Keys in New York City and has given no indication he is likely to tour again.

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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 stream latest ‘The King Of Limbs’ remixes online

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Radiohead stream latest ‘The King Of Limbs’ remixes online
Radiohead are streaming the latest installment in their 'The King Of Limbs' remix series online - scroll down and click below to hear the tracks. 'Give Up The Ghost', 'Codex' and 'Little By Little' are reworked by Thriller, Illum Sphere and Shed respectively on the fourth instalment in the series, ...

Radiohead are streaming the latest installment in their ‘The King Of Limbs’ remix series online – scroll down and click below to hear the tracks.

‘Give Up The Ghost’, ‘Codex’ and ‘Little By Little’ are reworked by Thriller, Illum Sphere and Shed respectively on the fourth instalment in the series, which is due to be released digitally on Monday (August 15).

The tracks were due to be released on 12″ vinyl on the same day, but this has been delayed, seemingly due to the burning down of Sony’s DADC warehouse in Enfield during the London riotsearlier this week. However, fans can pre-order the vinyl from their local record shop or Radiohead’s online store.

The Oxford band have released three previous singles in the series, which have featured remixes from the likes of Four Tet, Lone and Pearson Sound.

Meanwhile, Radiohead have reportedly been lined up to play the season opener of Saturday Night Live next month.

Thom Yorke and co will make their second musical appearance on the prime time US programme when it premieres with a show hosted by actor Alec Baldwin on September 24, reports USA Today.

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.

Brett Anderson confirms Suede will write new album

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Brett Anderson confirms Suede will write new album
Brett Anderson has confirmed that Suede will write and record a new album in the coming months. The singer, who is currently promoting his new solo album 'Black Rainbows', has said he will return to the studio with Suede as soon as he is finished with his promotional duties. Speaking to XFM, And...

Brett Anderson has confirmed that Suede will write and record a new album in the coming months.

The singer, who is currently promoting his new solo album ‘Black Rainbows’, has said he will return to the studio with Suede as soon as he is finished with his promotional duties.

Speaking to XFM, Anderson said of his plans to return to the studio: “After I’ve promoted this solo album I intend to be writing a new Suede album.”

The band had previously indicated they would not continue unless they entered the studio to make a new album and Anderson indicated that he believed the band would continue as long as they could “keep themselves interested”.

He said: “I think it’s all about keeping yourself interested as a musician, once it gets to this stage in your career it’s very much about doing things that keep you excited and making a new Suede record will be exciting, and then making another solo record after this will be exciting.”

He continued: “It’s just about trying to keep yourself interested the whole time. I think not getting stuck in a rut is the real lesson I learnt from being in Suede all that time. That’s kind of why we called it a day in 2003 – things can become too familiar and I definitely don’t want that to happen again.”

‘Black Rainbows’ is released on September 26.

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

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Cameron Crowe’s Pearl Jam film to be shown in 75 UK cinemas

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Cameron Crowe’s Pearl Jam film to be shown in 75 UK cinemas
Pearl Jam Twenty, the retrospective film about seminal alt.rockers Pearl Jam, will be screened in 75 UK cinemas. The Cameron Crowe film will shown at a host of cinemas on the day of release, September 20. The film has been cut from 1,200 hours of rare footage and features recent interviews with the...

Pearl Jam Twenty, the retrospective film about seminal alt.rockers Pearl Jam, will be screened in 75 UK cinemas.

The Cameron Crowe film will shown at a host of cinemas on the day of release, September 20. The film has been cut from 1,200 hours of rare footage and features recent interviews with the band members and live concert clips.

The soundtrack will be released on September 19 and has been complied by Crowe, who has known the band since his days as a reporter for Rolling Stone in Seattle.

A book, also called Pearl Jam Twenty will be released on September 12. Compiled and written by Jonathan Cohen with Mark Wilkerson, the book includes a foreword by Cameron Crowe as well as interviews with Bruce Springsteen, Neil Young and Dave Grohl.

Pearl Jam are currently in the studio working on their 10th studio album.

The full UK cinema listings for Pearl Jam Twenty are:

Aberdeen, Picturehouse Aberdeen Belmont

Aberdeen, Vue Aberdeen

Basildon, Empire Basildon

Basingstoke, Vue Basingstoke

Belfast, Queens Theatre Belfast

Birmingham, Empire Birmingham

Birmingham, Vue Birmingham

Bluewater, Showcase Bluewater

Bolton, Vue Bolton

Brighton, PictureHouse Brighton

Bristol, Showcase CDL Bristol

Bristol, Vue Bristol Cribbs

Camberley, Vue Camberley

Cambridge, Vue Cambridge

Cardiff, Chapter Cardiff

Cardiff, Showcase Cardiff

Cardiff, Vue Cardiff

Cheshire Oaks, Vue Cheshire Oaks

Croydon, Vue Croydon Grants

Derby, Showcase CDL Derby

Dundee, Dundee Contemporary Arts

Edinburgh, Vue Edinburgh Omni

Edinburgh, PictureHouse Cameo

Exeter, Vue Exeter

Glasgow, PictureHouse Glasgow Grosvenor

Hamilton, Vue Hamilton

Hull, Vue Hull

Inverness, Eden Court, Inverness

Inverness, Vue Inverness

Leeds, Showcase Leeds

Leeds, Vue Leeds Light

Leicester, Showcase CDL Leicester

Leicester, Vue Leicester

Liverpool, Picturehouse Liverpool FACT

London, PictureHouse Stratford

London, Riverside Hammersmith

London, Vue Finchley Road

London, Vue Fulham

London, Vue Islington

London, Vue Leicester Square

London, Vue Stratford

London, Vue Westfield

Manchester, Vue Manchester Lowry

Newcastle, Empire Newcastle

Norwich, Vue Norwich

Nottingham, Showcase Nottingham

Paisley, Showcase Paisley

Peterborough, Showcase Peterborough

Plymouth, Vue Plymouth

Poole, Empire Poole

Poole, Lighthouse Poole

Portsmouth, Vue Portsmouth

Reading, Showcase Reading

Reading, Vue Reading

Romford, Vue Romford

Sheffield, Vue Sheffield

Southampton, Picturehouse

Sunderland, Empire Sunderland

Swansea, Vue Swansea

Swindon, Empire Swindon

Teesside, Showcase Teesside

Thanet, Vue Thanet

Tyneside, PictureHouse Tyneside

Walsall, Showcase Walsall

Watford, Vue Watford

Wigan, Empire Wigan

York, Vue York

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

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