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Pink Floyd’s David Gilmour’s son pleads guilty to violent disorder

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Pink Floyd’s David Gilmour’s son pleads guilty to violent disorder

Charlie Gilmour, the son of Pink Floyd guitarist David Gilmour, has pleaded guilty to violent disorder. Gilmour has admitted to throwing a bin at a convoy of cars which included one carrying Prince Charles and Camilla Parker-Bowles. The incident took place on Regent Street in London on December 9 last year during a protest about student fees. According to the Daily Mail Gilmour pleaded guilty this morning at Kingston Crown Court. After giving his plea he was bailed until July 8 so he can complete his exams at Cambridge University. He was warned by Judge Nicholas Price though that he may face a spell in prison when he is sentenced formally in July. Price told Gilmour: "You have accepted counts of a serious matter and it may well be the course of one of immediate custody. This matter will come back to this court on July 8." The 21 year-old has since apologised for his actions, calling them "a moment of idiocy." Latest music and film news on Uncut.co.uk.

Charlie Gilmour, the son of Pink Floyd guitarist David Gilmour, has pleaded guilty to violent disorder.

Gilmour has admitted to throwing a bin at a convoy of cars which included one carrying Prince Charles and Camilla Parker-Bowles. The incident took place on Regent Street in London on December 9 last year during a protest about student fees.

According to the Daily Mail Gilmour pleaded guilty this morning at Kingston Crown Court. After giving his plea he was bailed until July 8 so he can complete his exams at Cambridge University. He was warned by Judge Nicholas Price though that he may face a spell in prison when he is sentenced formally in July.

Price told Gilmour: “You have accepted counts of a serious matter and it may well be the course of one of immediate custody. This matter will come back to this court on July 8.”

The 21 year-old has since apologised for his actions, calling them “a moment of idiocy.”

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

UPSIDE DOWN – THE CREATION RECORDS STORY

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UPSIDE DOWN – THE CREATION RECORDS STORY
Directed by Danny O’Connor Starring Alan McGee, Bobby Gillespie After he was in Ride, shortly before he was in Oasis, Andy Bell was the guitarist in a late Britpop group called Hurricane #1. As was often the case when Creation records were promoting an artist whose interesting qualities may not...

Directed by Danny O’Connor

Starring Alan McGee, Bobby Gillespie

After he was in Ride, shortly before he was in Oasis, Andy Bell was the guitarist in a late Britpop group called Hurricane #1.

As was often the case when Creation records were promoting an artist whose interesting qualities may not otherwise have been immediately apparent, a trip abroad was convened to reveal them. In Paris, the band were interviewed for a piece in NME, during which one of them described their new record as “rock’n’roll genius”. Bell rolled his eyes at this. “Those,” he said, like someone who knew what he was talking about, “are the most overused words at Creation Records.”

As he hardly needed to explain, they were words most often to be heard coming from the mouth of the label’s founder, hype man and high priest, the self-styled President Of Pop, Alan McGee. Factory records had a defining visual aesthetic and the intellect of Tony Wilson. Rough Trade had Geoff Travis and political conviction. The fortunes of Creation, a British indie label active from 1983 to 1999, meanwhile, seemed causally linked to the powers of McGee as an evangelist, preaching his gospel of rock’n’roll, the company’s balloon kept aloft, it sometimes seemed, solely by his hot air.

There have been books about Creation both very good (David Cavanagh’s My Magpie Eyes Are Hungry For The Prize)and not so very good (Paolo Hewitt’s This Ecstasy Romance Cannot Last). Upside Down, however, tells a simpler tale, however much the complexity of what actually happened at Creation might seem to resist it. This could have been, for example, a film built around the friendship of Primal Scream’s Bobby Gillespie and Alan McGee, one which predates Creation records and presumably still thrives, linking the label’s earliest records to its very last. It might profitably have examined the label’s role in what we mean by “indie” music, the meaning of which game Creation participated in and then helped irrevocably change.

Instead, it’s what you might call the Walk The Line version of Creation records – in which we come in near the end, and the arrival on horseback (actually in a first-class train compartment) of Noel Gallagher to save the day. When the end finally came (rather against the myth-making type of the label), Creation didn’t explode in a blaze of glory or devise one insane last job. Nobody died. Instead, Creation, for all the fanciful comparisons with the Roman Empire offered here, simply released a Primal Scream single and then ceded to the parent company to which it had sold a 50 per cent stake in 1992.

The story Upside Down tells, then, isn’t so much about life behind the scenes as it is about believing the hype. That’s not meant derogatorily: Alan McGee doesn’t just do most of the talking in this documentary – as a young promoter-turned-label-owner his talk was one of his most valuable commodities. Any kind of entertainment venture is about belief, and after McGee released The Jesus And Mary Chain’s successful “Upside Down”, he suddenly gained credibility as an indie rock rainmaker. Occasionally (as with his stewardship of Elevation, a major-funded pseudo indie) things went a little awry. More often than not (as when he negotiated a huge deal for the House Of Love’s Fontana LP to come out on a major) it went very well indeed.

Of course, all of this acumen might seem a bit at odds with what we think we know about Creation as an indie label. History, even rock history, is written by the victors and so here you will hear more from members of Oasis, Primal Scream, My Bloody Valentine, Ride and Teenage Fanclub than you will from Meat Whiplash, The Bodines or The Legend! But Creation routinely exercised aesthetic judgements – signing Felt, for example – without any great reward, and it would be nice to have heard more about what they thought they were doing then. Undoubtedly McGee was as passionate about the unsuccessful bands as the successful ones, so it’s a shame that Upside Down sometimes plays like a press kit detailing his capacity to pick winners.

But when Creation’s bands won big, they did win very big indeed. As such, this is a documentary that uses the label’s hit records as a vehicle to tell its story, and it is a fine experience to hear the circumstances of how some of this stuff came to be made. The acid house epiphany of Primal Scream that gave rise to Screamadelica. McGee’s stalking of Ride on their first British tour. The financial hardships wrought on the label by My Bloody Valentine’s Loveless album – wonderfully described by Bobby Gillespie as the last time music did anything new (“since then it’s been backwards.”)

What you won’t find here, however, is very much in the way of self-knowledge. It’s no particular exaggeration to say that if you were on or worked at Creation records in the 1990s, you were working in close proximity to some of the most powerful forces of that period: class A drugs, the music of Oasis, and an unstoppable, if sometimes misguided, self-belief. But even after all these years, and after his collapse and subsequent rehab it doesn’t seem that publicly McGee is remotely close to letting his guard drop from that bullish mindset.

Interviewees here are nearly all warmly disposed to McGee, while offscreen, tales abound of his generosity with his time, advice and encouragement. But save for a few interviewees remarking that they couldn’t understand his accent, and some gentle ribbing (John Robb: “The Jesus And Mary Chain aren’t riot people. But Alan McGee could start a riot in a paper bag,”) there’s not very much here that you might say attempted to deflate his public image. There’s no “I can laugh at myself now”, and certainly no “What was I thinking?”.

In this respect, it’s the last few minutes of Upside Down that are probably the most revealing. After his collapse, McGee largely sat out what many might see as the label’s Britpop glory years, regaining his health, but passing over the control of the label to his business partner, Dick Green. The parties in the office stopped, and the label become staffed by people who could do their jobs properly (much to the disappointment of Bobby Gillespie). In such a place, a sideshow grown into a functioning business, there simply wasn’t a great deal for McGee to do. Among all the grandstanding, it’s a rare moment of calm.

Upside Down, in the main, does a fine job: it makes you want to go and play the records, and salute the environment and personnel that helped them to be made. You wonder, though, about the omissions in the film. What, for example, about any other music being made? Or any other record label? Eventually, you realise it’s intentional. To McGee’s mind, after all, there simply were no others.

John Robinson

HANNA

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HANNA
Directed by Joe Wright Starring Saoirse Ronan, Eric Bana Sixteen-year-old Hanna (Saoirse Ronan) lives with her father Erik (Eric Bana) in a cabin in an isolated, snow-covered forest. A man with a past, Erik has raised Hanna as a sort of assassin-cum-super-soldier; soon she is loose in the world, ...

Directed by Joe Wright

Starring Saoirse Ronan, Eric Bana

Sixteen-year-old Hanna (Saoirse Ronan) lives with her father Erik (Eric Bana) in a cabin in an isolated, snow-covered forest.

A man with a past, Erik has raised Hanna as a sort of assassin-cum-super-soldier; soon she is loose in the world, where she attracts the unwanted attention of Cate Blanchett’s shadowy CIA operative Marissa Viegler.

Hanna marks an intriguing change of direction for Atonement director Joe Wright, who constructs a sleek modernist fantasy here – part junior Bourne, part Grimm Brothers fairy tale.

With her white hair, luminous skin and large blue eyes, Ronan resembles a feral forest sprite – an unusual teen-terminator.

While there are plenty of artfully constructed action sequences, Wright takes time to explore Hanna’s formative interactions with the real world. After all, this is a girl who can escape a maximum security CIA facility but has never seen an electric kettle before.

Michael Bonner

OKKERVIL RIVER – I AM VERY FAR

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OKKERVIL RIVER – I AM VERY FAR
Okkervil River’s 2005 breakthrough album was an intense song-cycle called Black Sheep Boy. Written by Will Sheff during an isolated winter in rural Indiana, it was inspired by Tim Hardin, the ’60s singer-songwriter who surrendered his life and talent to a heroin addiction about which he was fata...

Okkervil River’s 2005 breakthrough album was an intense song-cycle called Black Sheep Boy. Written by Will Sheff during an isolated winter in rural Indiana, it was inspired by Tim Hardin, the ’60s singer-songwriter who surrendered his life and talent to a heroin addiction about which he was fatalistically unrepentant, even as it was killing him. The album was about as cheerful as you’d expect in the circumstances, which is to say, not very. It was the kind of record, however, around which cultish devotion gathers, and duly did.

Black Sheep Boy was followed in 2007 and 2008 by The Stage Names and The Stand Ins, two very different, conceptually linked albums of darkly sardonic, often cynical songs about fame, what people will do for it and what happens to them when stardom wanes or is snatched from them. Their songs were dense, allusive, touching and funny when they weren’t blatantly tragic, and full of clever pop culture references. Imagine The Rise And Fall Of Ziggy Stardust And The Spiders From Mars, written by David Foster Wallace, and you’ll be halfway to an understanding of them. They were also the most musically expansive things Okkervil River had so far done, echoes everywhere on them of Dylan, the Stones, The Velvet Underground, the Faces, Motown and Bowie.

I Am Very Far, the band’s first album in nearly three years (they took time off to work with Roky Erickson on 2010’s True Love Cast Out All Evil, which Sheff produced) sounds on first acquaintance like a return of sorts to the charred territories of Black Sheep Boy and the sometimes gruesome murder ballads that were scattered across its predecessors, Don’t Fall In Love With Everyone You See and Down The River Of Golden Dreams. There are bodies everywhere on I Am Very Far, most of them with their throats slit, a recurring image.

The record, though, is no gloomy compendium of gothic melodrama. The instances of individuals visited by violence quickly become emblematic of a wider woe, a world on fire, catastrophe looming, a dystopian outlook it shares with parts of Bowie’s Aladdin Sane and the whole of Diamond Dogs. Like Bowie, Sheff makes the apocalypse sound dangerously exciting, almost sexy, certainly not something you’d want to miss. There’s a lot that’s raw and exclamatory about this music, a kind of demented exhilaration, especially on the tracks recorded with what Sheff describes as the ‘giant’ Okkervil lineup assembled for these sessions, featuring two drummers, two electric basses, two pianos and seven guitarists, all playing in unison and recorded in single takes. The noise they make is thrilling. “Rider”, the first of these tracks, is like “Panic In Detroit” re-tooled in the anthemic manner of Springsteen or Arcade Fire – a bold unfurling, a majestic racket.

The tense, alliterative “White Shadow Waltz” (which seems to refer back to “Savannah Smiles” on The Stage Names and “Starry Stairs”, its sequel on The Stand Ins) and the incantatory “We Need A Myth” are similarly rousing, something feverish and hallucinatory about them. There’s an interlude on the latter, flooded with strings, that’s overwrought in the irresistible style of some of the things Jimmy Webb wrote and arranged for the actor Richard Harris on his A Tramp Shining and The Yard Went On Forever albums.

There’s a sense of reverie running through the album, too, as if dreams are being remembered or lived through, memories of better times glimpsed among current ruin on “Lay Of The Last Survivor”, “Hanging From A Hit”, “Your Past Life As A Blast” (appropriately reminiscent of Dylan’s “Series Of Dreams”), and “The Rise”, which nobly closes the album, Okkervil River’s best yet.

Allan Jones

FLEET FOXES – HELPLESSNESS BLUES

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FLEET FOXES – HELPLESSNESS BLUES

In a note written for journalists, Robin Pecknold includes a useful list of some of the musical influences at play on Fleet Foxes’ second album. Many will be familiar to anyone who appreciated the sunlit harmonies of the group’s 2008 debut: not least SMiLE-era Brian Wilson, The Byrds, Crosby, Stills And Nash, Van Morrison, Bob Dylan and Neil Young. Some are less mainstream, but provide an interesting insight into the breadth of Fleet Foxes’ ambition: so, let’s hear it for Peter, Paul & Mary, folk-song collector and balladeer John Jacob Niles, Judee Sill, Ennio Morricone, The Zombies, The Electric Prunes and Roy Harper. You can hear them all, sometimes all at once, if you listen closely to Helplessness Blues. The surf-speckled gospel harmonies that introduce “Lorelai” are as sweet and clear as any sung by The Beach Boys. The cinematic scope of the pretty folk instrumental “The Cascades” recalls Morricone, even if Fleet Foxes never quite get into the realm of the Spaghetti Western (it sounds more like alfalfa in the breeze than spurs on desert dirt). Roy Harper’s influence, Pecknold has acknowledged, can be detected in the layered vocals at the start of “The Plains/Bitter Dancer”. Pecknold doesn’t mention Joy Division, so I will, because Helplessness Blues is as passionately desolate as anything on Closer, the record which documented Ian Curtis’ romantic guilt and existential confusion. Ridiculous? Well, plainly, Joy Division were industrial and gothic in a way that Fleet Foxes are not: like Brian Wilson, the Seattle-band tend to spray ultra-violet light onto dark thoughts – but consider the opener, “Montezuma”, in which Pecknold appears to be mourning the death of the person he used to be, and upbraiding himself for being so self-centred. The song is apparently deeply personal, and its underlying mood is one of profound dislocation and loneliness. It doesn’t sound deathly, of course. It’s glorious, but beneath the tidal swells and eddies which flush around the melody, the tenor is funereal. Or take “Battery Kinzie”, which seems to be a transcription of a nightmare; a kind of blues set to a Simon & Garfunkel harmony “I woke up a dying man/Without a chance,” Pecknold avers at the start, and things don’t brighten after that. The singer has his reasons, of course. As he told Uncut last month, the three-year gap between Fleet Foxes’ first and second albums was not planned. The group were overwhelmed by their success, and the pace of events meant that work on new material kept getting pushed back. More importantly, Pecknold found his artistic perfectionism interfering with his everyday life, so that the process of dreaming the record, writing it, and doing justice to his ambitions for it, pushed everything else aside. He suffered ill health, sacrificed a relationship, and – this part is half-speculation – found his muse diverted. Hence, Helplessness Blues; the title is a self-mocking joke, but the album really is dominated by Pecknold’s weighing of his emotional baggage. This is especially true of the title track, which begins like a Simon & Garfunkel pop song before turning stormy. “What’s my name, what’s my station?” Pecknold sings, “Oh just tell me what I should do…” On the page, the words scroll like a break-up song, as the singer admits to his inability to control his life, even when he can sense it is drifting in the wrong direction. “And I don’t know who to believe/I’ll get back to you someday/Soon you will see…” But the singing elevates it to something universal, as he yearns for a cause – any cause, almost – to believe in, if only because it would save him the bother of fixating on his own problems. “My Generation” it isn’t, but you sense that Pecknold would rather eat his own tongue than pen a generational anthem. Fleet Foxes are always described as baroque, which usually means someone’s playing a glockenspiel, but on Helplessness Blues the band really do seem to be intent on expanding the geography of the pop song. Sometimes the tunes are only held together by J Tillman’s ominous tom-toms. Two songs (“The Plains/Bitter Dancer” and “The Shrine/An Argument”) are acknowledged as collages. On “The Plains/Bitter Dancer” the mood does tip into heavy metal portentousness, with lyrics which seem to suggest a kind of Satanic reckoning. But “The Shrine/An Argument” is an epic beauty, a psychedelic dream which starts out all summery and sweet, before dissolving into doubt and tempestuousness and – something of a shock this – a free jazz wig-out. There is sweetness, too. Pecknold began the writing process by penning songs he could sing on his own after being invited to support Joanna Newsom. His idea then was to embrace simplicity. Some of that remains. “Blue Spotted Tail” is a sweet folk song, bordering on naivety. It’s just a man with a guitar, humming to himself; a nursery rhyme, almost. And “Lorelai” is a painful romantic piece which starts prettily (“So, guess I got old”) before spiralling into choral harmonies. Nothing stays simple for long. Where does that leave us? Well in Helplessness Blues, Robin Pecknold is unduly harsh on himself. It is perhaps a problem peculiar to the folk idiom when the anger in your protest songs is directed at the mirror. But there’s something more persistent about the unease Pecknold is exploring here. His initial impulse may have been a rock singer’s gripe about the troubles that arrive when your dreams come true, but he has remoulded this very particular strain of self-absorption into something universal and timeless. In the coda to the song, “Helplessness Blues”, Pecknold makes a show of putting his troubles aside, as he imagines an ideal life. He’ll work in an orchard, he suggests, and his girl will wait tables. What he doesn’t add is the bit about living happily ever after. Because, for all that he is a romantic, Robin Pecknold is a realist, clinging to a dream – and it is a beautiful dream. Alastair McKay

In a note written for journalists, Robin Pecknold includes a useful list of some of the musical influences at play on Fleet Foxes’ second album. Many will be familiar to anyone who appreciated the sunlit harmonies of the group’s 2008 debut: not least SMiLE-era Brian Wilson, The Byrds, Crosby, Stills And Nash, Van Morrison, Bob Dylan and Neil Young. Some are less mainstream, but provide an interesting insight into the breadth of Fleet Foxes’ ambition: so, let’s hear it for Peter, Paul & Mary, folk-song collector and balladeer John Jacob Niles, Judee Sill, Ennio Morricone, The Zombies, The Electric Prunes and Roy Harper.

You can hear them all, sometimes all at once, if you listen closely to Helplessness Blues. The surf-speckled gospel harmonies that introduce “Lorelai” are as sweet and clear as any sung by The Beach Boys. The cinematic scope of the pretty folk instrumental “The Cascades” recalls Morricone, even if Fleet Foxes never quite get into the realm of the Spaghetti Western (it sounds more like alfalfa in the breeze than spurs on desert dirt). Roy Harper’s influence, Pecknold has acknowledged, can be detected in the layered vocals at the start of “The Plains/Bitter Dancer”.

Pecknold doesn’t mention Joy Division, so I will, because Helplessness Blues is as passionately desolate as anything on Closer, the record which documented Ian Curtis’ romantic guilt and existential confusion. Ridiculous? Well, plainly, Joy Division were industrial and gothic in a way that Fleet Foxes are not: like Brian Wilson, the Seattle-band tend to spray ultra-violet light onto dark thoughts – but consider the opener, “Montezuma”, in which Pecknold appears to be mourning the death of the person he used to be, and upbraiding himself for being so self-centred. The song is apparently deeply personal, and its underlying mood is one of profound dislocation and loneliness. It doesn’t sound deathly, of course. It’s glorious, but beneath the tidal swells and eddies which flush around the melody, the tenor is funereal. Or take “Battery Kinzie”, which seems to be a transcription of a nightmare; a kind of blues set to a Simon & Garfunkel harmony “I woke up a dying man/Without a chance,” Pecknold avers at the start, and things don’t brighten after that.

The singer has his reasons, of course. As he told Uncut last month, the three-year gap between Fleet Foxes’ first and second albums was not planned. The group were overwhelmed by their success, and the pace of events meant that work on new material kept getting pushed back. More importantly, Pecknold found his artistic perfectionism interfering with his everyday life, so that the process of dreaming the record, writing it, and doing justice to his ambitions for it, pushed everything else aside. He suffered ill health, sacrificed a relationship, and – this part is half-speculation – found his muse diverted.

Hence, Helplessness Blues; the title is a self-mocking joke, but the album really is dominated by Pecknold’s weighing of his emotional baggage. This is especially true of the title track, which begins like a Simon & Garfunkel pop song before turning stormy. “What’s my name, what’s my station?” Pecknold sings, “Oh just tell me what I should do…” On the page, the words scroll like a break-up song, as the singer admits to his inability to control his life, even when he can sense it is drifting in the wrong direction. “And I don’t know who to believe/I’ll get back to you someday/Soon you will see…” But the singing elevates it to something universal, as he yearns for a cause – any cause, almost – to believe in, if only because it would save him the bother of fixating on his own problems. “My Generation” it isn’t, but you sense that Pecknold would rather eat his own tongue than pen a generational anthem. Fleet Foxes are always described as baroque, which usually means someone’s playing a glockenspiel, but on Helplessness Blues the band really do seem to be intent on expanding the geography of the pop song. Sometimes the tunes are only held together by J Tillman’s ominous tom-toms.

Two songs (“The Plains/Bitter Dancer” and “The Shrine/An Argument”) are acknowledged as collages. On “The Plains/Bitter Dancer” the mood does tip into heavy metal portentousness, with lyrics which seem to suggest a kind of Satanic reckoning. But “The Shrine/An Argument” is an epic beauty, a psychedelic dream which starts out all summery and sweet, before dissolving into doubt and tempestuousness and – something of a shock this – a free jazz wig-out.

There is sweetness, too. Pecknold began the writing process by penning songs he could sing on his own after being invited to support Joanna Newsom. His idea then was to embrace simplicity. Some of that remains. “Blue Spotted Tail” is a sweet folk song, bordering on naivety. It’s just a man with a guitar, humming to himself; a nursery rhyme, almost. And “Lorelai” is a painful romantic piece which starts prettily (“So, guess I got old”) before spiralling into choral harmonies. Nothing stays simple for long.

Where does that leave us? Well in Helplessness Blues, Robin Pecknold is unduly harsh on himself. It is perhaps a problem peculiar to the folk idiom when the anger in your protest songs is directed at the mirror. But there’s something more persistent about the unease Pecknold is exploring here. His initial impulse may have been a rock singer’s gripe about the troubles that arrive when your dreams come true, but he has remoulded this very particular strain of self-absorption into something universal and timeless.

In the coda to the song, “Helplessness Blues”, Pecknold makes a show of putting his troubles aside, as he imagines an ideal life. He’ll work in an orchard, he suggests, and his girl will wait tables. What he doesn’t add is the bit about living happily ever after. Because, for all that he is a romantic, Robin Pecknold is a realist, clinging to a dream – and it is a beautiful dream.

Alastair McKay

Low interviewed: “It had to do with realising I was the Anti-Christ…”

John Mulvey
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Low interviewed: “It had to do with realising I was the Anti-Christ…”
It is an average February day in Duluth, Northern Minnesota, which means that downtown, on the edge of Lake Superior, the temperature is minus 13 degrees. Writing about his birthplace in Chronicles, Bob Dylan evoked “the slate gray skies and the mysterious foghorns” of Duluth, “the merciless h...

It is an average February day in Duluth, Northern Minnesota, which means that downtown, on the edge of Lake Superior, the temperature is minus 13 degrees. Writing about his birthplace in Chronicles, Bob Dylan evoked “the slate gray skies and the mysterious foghorns” of Duluth, “the merciless howling winds off the big black mysterious lake… People said that having to go out onto the deep water was like a death sentence.”

Plenty of people who have fled Duluth might consider staying in this small, blasted city to be a death sentence, too. But as we drive near the old Zimmerman residence, Mimi Parker and Alan Sparhawk are telling tales of the winter with the sort of wry, tough pride that seems typical of the locals. There was an old woman, says Parker, who fell on an icy pavement a few weeks back and then had a small mountain of snow dumped on top of her by a passing snowplough. Some hours later a neighbour using a telescope – it’s unclear what kind of magical x-ray telescope – ascertained that someone was buried beneath this new snowdrift. Dug out, the woman proved relatively unscathed. “Just a little hypothermia, I think,” Parker notes, phlegmatically.

Sparhawk, 42, and Parker, 43, have lived in Duluth all of their adult lives, have been a couple since they were 17-year-olds at the same rural Minnesotan high school, and for the last 18 years have been two critical thirds of Low. The rock world has not been historically populated by bands with such a loyalty to their spouses and their hometowns, but then Low are not exactly an ordinary rock band.

For a start, it’s a push to describe much of their 11 albums as rock, since Low’s reputation has been built on a stealthy, hushed inversion of normative rock behaviour. In recent years, Sparhawk (vocals and guitar), Parker (vocals, minimal drumkit) and a succession of bassists (currently a keen, gangling local, Steve Garrington) have fractionally upped the pace and volume, and found their songs covered on Band Of Joy by Robert Plant. Nevertheless, it’s the space and air in their music for which Low have become acclaimed: a setting for Sparhawk and Parker’s harmonies to reverberate in a kind of sepulchral vacuum.

Their faith is unusual, too. The couple are both practising Mormons and, while much of Low’s music comes across as secular, there’s clearly a strong religious dimension to the band. “For me, going like his is spiritual,” says Sparhawk. He mimes the furious strumming of a guitar. “I’ve always recognised the spirituality of music.”

The connections between art, faith and life got a little complicated, however, when Sparhawk had a severe mental breakdown. Six years ago, he closed his eyes, shut his mouth, and became convinced that he was the Anti-Christ, with a crucial role to play in nothing less than the end of the world…

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Kate Bush: ‘I’ve done most of the writing for a new album’

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Kate Bush: ‘I’ve done most of the writing for a new album’
Kate Bush has revealed she has almost finished writing a brand new studio album. The singer, who releases 'Director’s Cut', a compilation of re-recorded material from her 1989 album 'The Sensual World' and 1993's 'The Red Shoes' on May 16, has said she is now putting together a new LP of origina...

Kate Bush has revealed she has almost finished writing a brand new studio album.

The singer, who releases ‘Director’s Cut’, a compilation of re-recorded material from her 1989 album ‘The Sensual World’ and 1993’s ‘The Red Shoes’ on May 16, has said she is now putting together a new LP of original material.

Speaking on BBC Radio 4‘s Front Row last night (May 4), Bush responded to a question about whether she was working on a new album by replying: “I’ve done most of the writing for it.”

She did not give a possible release date for the album, which will be her 10th studio LP, refusing to even say if it will be ready for release by 2012.

Bush did admit that she finds it “stressful” that there are such long gaps between her albums, adding: “It’s very frustrating the albums take as long as they do. I wish there weren’t such big gaps between them.”

She also said that though she would “hate to say that I would never do any live shows again”, she currently had no plans to perform onstage. She last played live in 1979.

Nick Cave and Neko Case duet for new series of True Blood

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Nick Cave and Neko Case duet for new series of True Blood
Nick Cave and Neko Case have collaborated on a cover of the Zombies classic track ‘She’s Not There’ for vampire drama True Blood. The duet has been recorded for the first episode of the forthcoming series of the popular US show. The new version of the song will close the episode, which shares...

Nick Cave and Neko Case have collaborated on a cover of the Zombies classic track ‘She’s Not There’ for vampire drama True Blood.

The duet has been recorded for the first episode of the forthcoming series of the popular US show. The new version of the song will close the episode, which shares its name with the 1964 song. The show will kick off the fourth season of the series in the US on June 26, reports Billboard.

The programme’s music supervisor, Gary Calamar, spoke about the collaboration yesterday (May 4) at the Musexpo conference in Los Angeles. “You always want to serve the show, but in the back of my mind I’m always thinking about the soundtrack,” he said, adding that the script asked for Santana’s version of the song to be used, which he overruled in favour of the Cave and Case version. “The key to a good soundtrack is having fresh recordings.”

Prince to headline Poland’s Open’er Festival

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Prince to headline Poland’s Open’er Festival
Prince has been announced as a headliner for Polish festival Open'er. The festival, which takes place at Gdynia-Kosakowo Airfield in Gdynia between June 30 and July 3, will also be headlined by The Strokes and Coldplay. The Wombats, The National, M.I.A, Foals, Hurts, These New Puritans, Deadmau5, T...

Prince has been announced as a headliner for Polish festival Open’er.

The festival, which takes place at Gdynia-Kosakowo Airfield in Gdynia between June 30 and July 3, will also be headlined by The Strokes and Coldplay. The Wombats, The National, M.I.A, Foals, Hurts, These New Puritans, Deadmau5, Two Door Cinema Club and Pulp are also on the bill.

Open’er is currently Prince‘s only scheduled European festival appearance of the summer after rumours of a headline set at Glastonbury proved to be false. See Opener.pl for details.

Prince released his 33rd solo album ’20Ten’ last year and is currently completing a live residency at The Forum in Los Angeles.

The 17th Uncut Playlist Of 2011

John Mulvey
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Not much time to blog at the moment, since our normal routine has been savaged by, among other things, all those bank holidays. Number One still dominating business here, though, and check out a pleasing late arrival at Number 14. Playing the “C’Mon Acoustic” EP right now reminds me I should post the Low interview I did the other month. Will try and remember to do that tomorrow. 1 That Mystery Record Again 2 Glass Rock – Baby Baby Baby (Glass Rock Recordings) 3 Weyes Blood – The Outside Room (Not Not Fun) 4 John Maus –We Must Become The Pitiless Censors Of Ourselves (Upset The Rhythm) 5 Robert Stillman – Machine’s Song (OIB) 6 Jack Allett – The Collapsing Middle (Blackest Rainbow) 7 JuJu – In Trance (Real World) 8 Nat Baldwin – People Changes (Western Vinyl) 9 These Trails – These Trails (Drag City) 10 Julian Lynch – Terra (Underwater Peoples) 11 Taraf De Haïdouks & Ko?ani Orkestar – Band Of Gypsies 2 (Crammed Discs) 12 Neil Young & The International Harvesters – A Treasure (Reprise) 13 Ariel Pink’s Haunted Graffiti – Fright Night (Dam Funk Remix) (4AD) 14 Wooden Shjips – West (Thrill Jockey) 15 Low – C’Mon Acoustic EP (Sub Pop)

Not much time to blog at the moment, since our normal routine has been savaged by, among other things, all those bank holidays. Number One still dominating business here, though, and check out a pleasing late arrival at Number 14.

Continue

Laura Marling added to Green Man festival bill – ticket details

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Laura Marling added to Green Man festival bill – ticket details

Laura Marling has been added to the line-up of this year's Green Man festival. Marling will play on the festival's last night (August 21), performing underneath headliner Iron & Wine. The Avett Brothers, Josh T Pearson, Kaputt, Destroyer, Alessi's Ark, Matthew And The Atlas and Cowbois Rhos Botwnnog have also joined the bill. The event takes place on Wales' Brecon Beacons on August 19-21. Explosions In The Sky (August 19) and Fleet Foxes (August 20) are the festival's other headliners - see Greenman.net for more information. The Green Man line-up so far is: Fleet Foxes Explosions In The Sky Iron & Wine Bellowhead Laura Marling The Burns Unit Villagers The Low Anthem Holy Fuck Gruff Rhys Noah And The Whale James Blake James Yorkston The Leisure Society Admiral Fallow Duotone Driver Drive Faster Ute Hannah Peel Lia Ices Oh Ruin The Doozer Treecreeper The Avett Brothers Josh T Pearson Kaputt Destroyer Alessi's Ark Matthew And The Atlas Cowbois Rhos Botwnnog Wild Nothing Polar Bear Robyn Hitchcock Ellen & The Escapades Our Broken Garden Emily Barker The Gentle Good 2:54 The Travelling Band Bleeding Heart Narrative The Ramshackle Union Band Latest music and film news on Uncut.co.uk.

Laura Marling has been added to the line-up of this year’s Green Man festival.

Marling will play on the festival’s last night (August 21), performing underneath headliner Iron & Wine. The Avett Brothers, Josh T Pearson, Kaputt, Destroyer, Alessi’s Ark, Matthew And The Atlas and Cowbois Rhos Botwnnog have also joined the bill.

The event takes place on Wales’ Brecon Beacons on August 19-21. Explosions In The Sky (August 19) and Fleet Foxes (August 20) are the festival’s other headliners – see Greenman.net for more information.

The Green Man line-up so far is:

Fleet Foxes

Explosions In The Sky

Iron & Wine

Bellowhead

Laura Marling

The Burns Unit

Villagers

The Low Anthem

Holy Fuck

Gruff Rhys

Noah And The Whale

James Blake

James Yorkston

The Leisure Society

Admiral Fallow

Duotone

Driver Drive Faster

Ute

Hannah Peel

Lia Ices

Oh Ruin

The Doozer

Treecreeper

The Avett Brothers

Josh T Pearson

Kaputt

Destroyer

Alessi’s Ark

Matthew And The Atlas

Cowbois Rhos Botwnnog

Wild Nothing

Polar Bear

Robyn Hitchcock

Ellen & The Escapades

Our Broken Garden

Emily Barker

The Gentle Good

2:54

The Travelling Band

Bleeding Heart Narrative

The Ramshackle Union Band

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

Fleet Foxes challenging Adele for top spot in UK albums chart

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Fleet Foxes challenging Adele for top spot in UK albums chart

Fleet Foxes are challenging Adele for the Number One spot in the UK albums chart this week (beginning May 2). The Seattle folk band's second album 'Helplessness Blues' is currently just behind Adele's '21', according to midweek figures released today. '21' has spent a total of 13 weeks at Number One since its release on January 21. Radiohead are also having a good week with 'The King Of Limbs', with the album presently sat at the midweek Number Three, up four places from last week's Number Seven. Beastie Boys' new LP 'Hot Sauce Committee Pat Two' is currently set to enter at Number Seven. In the singles chart LMFAO are on course to be Number One for a fourth week with 'Party Rock Anthem'. Blue's Eurovision entry 'I Can' is presently the only new entry in the top ten. Latest music and film news on Uncut.co.uk.

Fleet Foxes are challenging Adele for the Number One spot in the UK albums chart this week (beginning May 2).

The Seattle folk band’s second album ‘Helplessness Blues’ is currently just behind Adele‘s ’21’, according to midweek figures released today. ’21’ has spent a total of 13 weeks at Number One since its release on January 21.

Radiohead are also having a good week with ‘The King Of Limbs’, with the album presently sat at the midweek Number Three, up four places from last week’s Number Seven. Beastie Boys‘ new LP ‘Hot Sauce Committee Pat Two’ is currently set to enter at Number Seven.

In the singles chart LMFAO are on course to be Number One for a fourth week with ‘Party Rock Anthem’. Blue‘s Eurovision entry ‘I Can’ is presently the only new entry in the top ten.

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

Radiohead to perform ‘The Kings Of Limbs’ in its entirety on BBC

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Radiohead to perform ‘The Kings Of Limbs’ in its entirety on BBC

Radiohead are set to perform their new album 'The Kings Of Limbs' in its entirety for a special BBC broadcast. The band's set will be shown in a programme titled Radiohead – The King of Limbs: Live From The Basement, which will be part of the BBC's From The Basement series. It will be filmed in high definition and broadcast on July 1. The programme is to be produced by Nigel Godrich, who was also at the controls for the recording of 'The Kings Of Limbs' itself. The broadcast will mark the first time the band have played many of the tracks from the album live and is likely to be the only time they play them in sequence. 'The King Of Limbs' was released physically on February 18 this year and is currently Number Seven in the UK albums chart. It is the band's eighth studio LP. There are no details as yet on which BBC channel the performance will be shown, or whether it will be available to be streamed online. 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 are set to perform their new album ‘The Kings Of Limbs’ in its entirety for a special BBC broadcast.

The band’s set will be shown in a programme titled Radiohead – The King of Limbs: Live From The Basement, which will be part of the BBC‘s From The Basement series. It will be filmed in high definition and broadcast on July 1.

The programme is to be produced by Nigel Godrich, who was also at the controls for the recording of ‘The Kings Of Limbs’ itself.

The broadcast will mark the first time the band have played many of the tracks from the album live and is likely to be the only time they play them in sequence.

‘The King Of Limbs’ was released physically on February 18 this year and is currently Number Seven in the UK albums chart. It is the band’s eighth studio LP.

There are no details as yet on which BBC channel the performance will be shown, or whether it will be available to be streamed online.

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.

Wilco announce October UK tour and ticket details

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Wilco announce October UK tour and ticket details

Wilco have announced plans to hit the road for a short UK tour in October. The Chicago-based band have lined up five dates including two nights at London's Roundhouse, set for October 28 and 29. Before those shows they will kick off the tour in Glasgow then play Manchester and Bristol. The six-piece are currently working on the follow-up to their 2009 LP 'Wilco (The Album)'. Singer Jeff Tweedy previously [url=http://www.nme.com/news/wilco/52088]said that the group are unsure how they will release the album[/url], speaking favourably about Radiohead's pay-what-you-want 2007 release of 'In Rainbows'. Wilco will play: Glasgow Royal Concert Hall (October 24) Manchester Academy (25) Bristol Colston Hall (27) London Roundhouse (28, 29) Tickets are on sale now. 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.

Wilco have announced plans to hit the road for a short UK tour in October.

The Chicago-based band have lined up five dates including two nights at London‘s Roundhouse, set for October 28 and 29. Before those shows they will kick off the tour in Glasgow then play Manchester and Bristol.

The six-piece are currently working on the follow-up to their 2009 LP ‘Wilco (The Album)’. Singer Jeff Tweedy previously [url=http://www.nme.com/news/wilco/52088]said that the group are unsure how they will release the album[/url], speaking favourably about Radiohead‘s pay-what-you-want 2007 release of ‘In Rainbows’.

Wilco will play:

Glasgow Royal Concert Hall (October 24)

Manchester Academy (25)

Bristol Colston Hall (27)

London Roundhouse (28, 29)

Tickets are on sale now.

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.

Alan McGee thought Liam Gallagher was a drug dealer

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Alan McGee thought Liam Gallagher was a drug dealer

Alan McGee has talked again about when he first saw Liam Gallagher - and assumed he was a drug dealer, not the singer in Oasis. Interviewed in The Sun today (May 3) ahead of the release of Upside Down, a new documentary about Creation Records, on DVD on next Monday (May 9), McGee said he actually thought the band's former guitarist Paul 'Bonehead' Archers was their singer. Speaking about when he first saw Oasis in Glasgow in May 1993, McGee said: "I was up in Glasgow seeing my dad and I wasn't sure I'd even go to the gig. I got there early by mistake. Oasis were on first, before most people arrived." "There was this amazing young version of Paul Weller sat there in a light blue Adidas tracksuit. I assumed he was the drug dealer and that Bonehead, the guitarist, was the singer." He continued: "It was only when they went on stage I realised it was Liam Gallagher. I knew I had to sign them. Noel and I talked after the show and just said 'done' and he turned out to be a man of his word." McGee also said that he believes he could never have signed Oasis like that now, adding: "I was lucky to be there. We didn't send out scouts. Most of my signings were because I happened to see new bands. That couldn't happen any more. If a new band as much as farts it's all over the internet." 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.

Alan McGee has talked again about when he first saw Liam Gallagher – and assumed he was a drug dealer, not the singer in Oasis.

Interviewed in The Sun today (May 3) ahead of the release of Upside Down, a new documentary about Creation Records, on DVD on next Monday (May 9), McGee said he actually thought the band’s former guitarist Paul ‘Bonehead’ Archers was their singer.

Speaking about when he first saw Oasis in Glasgow in May 1993, McGee said: “I was up in Glasgow seeing my dad and I wasn’t sure I’d even go to the gig. I got there early by mistake. Oasis were on first, before most people arrived.”

“There was this amazing young version of Paul Weller sat there in a light blue Adidas tracksuit. I assumed he was the drug dealer and that Bonehead, the guitarist, was the singer.”

He continued: “It was only when they went on stage I realised it was Liam Gallagher. I knew I had to sign them. Noel and I talked after the show and just said ‘done’ and he turned out to be a man of his word.”

McGee also said that he believes he could never have signed Oasis like that now, adding: “I was lucky to be there. We didn’t send out scouts. Most of my signings were because I happened to see new bands. That couldn’t happen any more. If a new band as much as farts it’s all over the internet.”

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.

Phil Spector murder conviction appeal rejected

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Phil Spector murder conviction appeal rejected

An appeal by Phil Spector's lawyers against his 2009 murder conviction has been rejected. A three-judge panel at California's 2nd District Court of Appeal upheld his sentence over the killing of actress Lana Clarkson in 2003. This comes after his legal team [url=http://www.nme.com/news/phil-spector/56088]urged the court to throw out his original sentence on the grounds it was prejudiced[/url] by testimony from five women who claimed to be victims of gun-related incidents with the producer in the past. "The evidence showed that, when fuelled by alcohol and faced with a lack or loss of control over a woman who was alone with him and in whom he had a romantic or sexual interest, Spector underwent a sharp mood swing," they said. In addition the producer "exhibited extreme anger and threatened the woman with a gun when she refused to do his bidding," according to an 81-page ruling by presiding judge Joan D Klein and two other justices. The judges found that the evidence was "admissible to prove that the cause of [Lana] Clarkson's death had neither been an accident nor a suicide", reports AFP. Spector, 71, was given a [url=http://www.nme.com/news/phil-spector/44989] 19-years-to-life jail sentence in May 2009 for shooting dead Clarkson in his home on February 3, 2003[/url] after a second trial. His first was declared a mistrial after jurors were deadlocked. The producer, who created the famed "Wall of Sound" recording technique during the 1960s, is not eligible for parole until 2028. If he is not freed then under California law his sentence will become a life term. 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.

An appeal by Phil Spector‘s lawyers against his 2009 murder conviction has been rejected.

A three-judge panel at California‘s 2nd District Court of Appeal upheld his sentence over the killing of actress Lana Clarkson in 2003. This comes after his legal team [url=http://www.nme.com/news/phil-spector/56088]urged the court to throw out his original sentence on the grounds it was prejudiced[/url] by testimony from five women who claimed to be victims of gun-related incidents with the producer in the past.

“The evidence showed that, when fuelled by alcohol and faced with a lack or loss of control over a woman who was alone with him and in whom he had a romantic or sexual interest, Spector underwent a sharp mood swing,” they said.

In addition the producer “exhibited extreme anger and threatened the woman with a gun when she refused to do his bidding,” according to an 81-page ruling by presiding judge Joan D Klein and two other justices.

The judges found that the evidence was “admissible to prove that the cause of [Lana] Clarkson‘s death had neither been an accident nor a suicide”, reports AFP.

Spector, 71, was given a [url=http://www.nme.com/news/phil-spector/44989] 19-years-to-life jail sentence in May 2009 for shooting dead Clarkson in his home on February 3, 2003[/url] after a second trial.

His first was declared a mistrial after jurors were deadlocked.

The producer, who created the famed “Wall of Sound” recording technique during the 1960s, is not eligible for parole until 2028. If he is not freed then under California law his sentence will become a life term.

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.

Kasabian announce June UK gigs and ticket details

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Kasabian announce June UK gigs and ticket details

Kasabian have announced details of four UK shows set for June. The band will play gigs in Sheffield, Leeds, Wolverhampton and Manchester on the short gig run as they gear up for festival season. They are expected to debut material from their forthcoming fourth album at the shows. The Leicester band have been working on the new album in San Francisco with producer Dan The Automator following sessions in London. It is expected to be released in October. Following the newly-announced shows Kasabian are set to headline the Isle Of Wight Festival and RockNess later in June. Sheffield O2 Academy (June 4) Leeds O2 Academy (5) Wolverhampton Civic Hall (7) Manchester O2 Apollo (8) Tickets go on sale on Friday (May 6). 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.

Kasabian have announced details of four UK shows set for June.

The band will play gigs in Sheffield, Leeds, Wolverhampton and Manchester on the short gig run as they gear up for festival season. They are expected to debut material from their forthcoming fourth album at the shows.

The Leicester band have been working on the new album in San Francisco with producer Dan The Automator following sessions in London. It is expected to be released in October.

Following the newly-announced shows Kasabian are set to headline the Isle Of Wight Festival and RockNess later in June.

Sheffield O2 Academy (June 4)

Leeds O2 Academy (5)

Wolverhampton Civic Hall (7)

Manchester O2 Apollo (8)

Tickets go on sale on Friday (May 6).

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 16th Uncut Playlist Of 2011

John Mulvey
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One or two auspicious things amidst this lot, though check out Weyes Blood and Robert Stillman, too. Very conscious of cryptic hyperbole here, but Record 14 is as good as anything I’ve heard this year, this morning at least. 1 Popol Vuh – Seligpreisung (Kosmische Musik) 2 Neil Young & The International Harvesters – A Treasure (Reprise) 3 These Trails – These Trails (Drag City) 4 Jerusalem And The Starbaskets – Dost (De Stijl) 5 Sons And Daughters – Mirror Mirror (Domino) 6 Weyes Blood – The Outside Room (Not Not Fun) 7 Jesse Sparhawk & Eric Carbonara – Sixty Strings (VHF) 8 Robert Stillman – Machine’s Song (OIB) 9 White Denim – D (Downtown) 10 Ty Segall – Goodbye Bread (Drag City) 11 The Happy End – Kazemachi Roman (URC) 12 Bon Iver – Bon Iver (4AD) 13 Power Of Zeus – The Gospel According To Zeus (Get On Down) 14 The Same Mystery Record As Playlist 14 15 Moebius – Ding (Klangbad)

One or two auspicious things amidst this lot, though check out Weyes Blood and Robert Stillman, too. Very conscious of cryptic hyperbole here, but Record 14 is as good as anything I’ve heard this year, this morning at least.

Continue

Beastie Boys put ‘Fight For Your Right’ film online – video

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Beastie Boys put ‘Fight For Your Right’ film online – video

Beastie Boys have posted their full 30-minute Fight For Your Right – Revisited film online. Scroll down now to watch the film, which stars the likes of Elijah Wood, Danny McBride, Seth Rogen, Susan Sarandon and sees the rappers revisit their classic 1987 video for '(You Gotta) Fight for Your Right (To Party!)'. The band's Adam Yauch wrote and directed the film, which acts as a sequel to the events in the original video. A number of other actors and musicians make cameos in it, including Will Ferrell, Jack Black, Steve Buscemi, Shannyn Sossamon, Kirsten Dunst, Ted Danson, Chloe Sevigny and Orlando Bloom, as well as the actual Beasties. http://www.youtube.com/watch?v=evA-R9OS-Vo 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.

Beastie Boys have posted their full 30-minute Fight For Your Right – Revisited film online.

Scroll down now to watch the film, which stars the likes of Elijah Wood, Danny McBride, Seth Rogen, Susan Sarandon and sees the rappers revisit their classic 1987 video for ‘(You Gotta) Fight for Your Right (To Party!)’.

The band’s Adam Yauch wrote and directed the film, which acts as a sequel to the events in the original video. A number of other actors and musicians make cameos in it, including Will Ferrell, Jack Black, Steve Buscemi, Shannyn Sossamon, Kirsten Dunst, Ted Danson, Chloe Sevigny and Orlando Bloom, as well as the actual Beasties.

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.

Roger Daltrey announces UK ‘Tommy’ tour

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Roger Daltrey announces UK ‘Tommy’ tour

The Who's Roger Daltrey is set to tour the band’s rock opera 'Tommy' in the UK this summer. Daltrey recently played the 1969 album at the Royal Albert Hall in London for the Teenage Cancer Trust , and will now take it on the road this July. He will be joined on the tour by Simon Townshend, the younger brother of his The Who bandmate Pete Townshend. Townshend said: "I will be there in spirit and Roger has my complete and most loving support." Roger Daltrey will play: Alchester Ragley Hall (July 3) Gateshead Sage (4) Glasgow Clyde Auditorium (6) Manchester Bridgewater Hall (7) Nottingham Royal Centre (9) Newport Centre (10) Bristol Colston Hall (12) Southend Cliffs Pavillion (13) Guildford Guilfest (15) Hampshire Broadlands (16) Harrogate Ripley House (17) Hull City Hall (19) London Indigo O2 (21) Norwich Blicking Hall (22) Exeter Powderham Castle (24) Tickets go on sale on Friday (April 29) at 9am (GMT). 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 Who‘s Roger Daltrey is set to tour the band’s rock opera ‘Tommy‘ in the UK this summer.

Daltrey recently played the 1969 album at the Royal Albert Hall in London for the Teenage Cancer Trust

, and will now take it on the road this July.

He will be joined on the tour by Simon Townshend, the younger brother of his The Who bandmate Pete Townshend.

Townshend said: “I will be there in spirit and Roger has my complete and most loving support.”

Roger Daltrey will play:

Alchester Ragley Hall (July 3)

Gateshead Sage (4)

Glasgow Clyde Auditorium (6)

Manchester Bridgewater Hall (7)

Nottingham Royal Centre (9)

Newport Centre (10)

Bristol Colston Hall (12)

Southend Cliffs Pavillion (13)

Guildford Guilfest (15)

Hampshire Broadlands (16)

Harrogate Ripley House (17)

Hull City Hall (19)

London Indigo O2 (21)

Norwich Blicking Hall (22)

Exeter Powderham Castle (24)

Tickets go on sale on Friday (April 29) at 9am (GMT).

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.

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