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Milk

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Milk

DIRECTED BY Gus Van Sant STARRING Sean Penn, Josh Brolin, James Franco, Diego Luna Harvey Milk was the first openly gay official elected to major office in America. He was murdered, in November 1978, by fellow San Francisco city supervisor Dan White. White, a Vietnam vet and former policeman, also killed mayor George Moscone the same morning, and later blamed a junk food diet for his unbalanced mental state. This story has been seen on screen before in Rob Epstein’s Oscar-winning 1984 documentary, The Times Of Harvey Milk. But Van Sant and screenwriter Dustin Lance Black flesh out the facts with eight years of personal, psychological and historical detail. Their unanimously high-calibre cast includes the increasingly impressive Brolin as White, but Sean Penn still steals almost every scene, immersing himself totally in Milk’s sardonic speech patterns and rubbery body language. Fans of Van Sant’s experimental quasi-biopics Elephant and Last Days will probably find Milk disappointingly straight (no pun intended) by comparison. It is certainly the director’s most formally conventional film for almost a decade. This functional approach might seem arguably unavoidable, although Danny Elfman’s tearjerking score becomes intrusive. There are niggling omissions in the story, too. White’s true motives for murder are never fully explored, but plainly ran deeper than anti-gay prejudice. Likewise Milk’s history of suicidal lovers, a shock throwaway line that’s left hanging. A little more informed speculation might have helped. Still, otherwise this is a warm, moving, non-preachy and surprisingly funny slice of contemporary history. STEPHEN DALTON For more music and film news click here

DIRECTED BY Gus Van Sant

STARRING Sean Penn, Josh Brolin, James Franco, Diego Luna

Harvey Milk was the first openly gay official elected to major office in America. He was murdered, in November 1978, by fellow San Francisco city supervisor Dan White. White, a Vietnam vet and former policeman, also killed mayor George Moscone the same morning, and later blamed a junk food diet for his unbalanced mental state.

This story has been seen on screen before in Rob Epstein’s Oscar-winning 1984 documentary, The Times Of Harvey Milk. But Van Sant and screenwriter Dustin Lance Black flesh out the facts with eight years of personal, psychological and historical detail. Their unanimously high-calibre cast includes the increasingly impressive Brolin as White, but Sean Penn still steals almost every scene, immersing himself totally in Milk’s sardonic speech patterns and rubbery body language.

Fans of Van Sant’s experimental quasi-biopics Elephant and Last Days will probably find Milk disappointingly straight (no pun intended) by comparison. It is certainly the director’s most formally conventional film for almost a decade. This functional approach might seem arguably unavoidable, although Danny Elfman’s tearjerking score becomes intrusive.

There are niggling omissions in the story, too. White’s true motives for murder are never fully explored, but plainly ran deeper than anti-gay prejudice. Likewise Milk’s history of suicidal lovers, a shock throwaway line that’s left hanging. A little more informed speculation might have helped. Still, otherwise this is a warm, moving, non-preachy and surprisingly funny slice of contemporary history.

STEPHEN DALTON

For more music and film news click here

The Jimi Hendrix Experience – Electric Ladyland

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The Jimi Hendrix Experience – Electric Ladyland

As much as the world was in turmoil while Electric Ladyland was being made, so, undoubtedly, was The Jimi Hendrix Experience. Made by an over-worked, over-managed group led by a guitarist keeping demandingly odd hours, forty years on the album displays an unquestionable power and beauty, but also records a huge tension. Split between brain-frying psychedelic epics ("1983 (A Merman I Should Turn To Be)") and off the floor live jams like "Voodoo Child", the album is the bridging point between the flowery-shirted psychedelic pop records of Hendrix's London days, and the self-determining war funk of Band Of Gypsies, combining the best of both. This supplants the 2002 reissue only in bundling it with the Classic Albums doc, while sleeve-wise, this continues to use neither the original (that Jimi loathed), nor the Linda Eastman shots he wanted. JOHN ROBINSON For more album reviews, click here for the UNCUT music archive

As much as the world was in turmoil while Electric Ladyland was being made, so, undoubtedly, was The Jimi Hendrix Experience. Made by an over-worked, over-managed group led by a guitarist keeping demandingly odd hours, forty years on the album displays an unquestionable power and beauty, but also records a huge tension.

Split between brain-frying psychedelic epics (“1983 (A Merman I Should Turn To Be)”) and off the floor live jams like “Voodoo Child”, the album is the bridging point between the flowery-shirted psychedelic pop records of Hendrix’s London days, and the self-determining war funk of Band Of Gypsies, combining the best of both. This supplants the 2002 reissue only in bundling it with the Classic Albums doc, while sleeve-wise, this continues to use neither the original (that Jimi loathed), nor the Linda Eastman shots he wanted.

JOHN ROBINSON

For more album reviews, click here for the UNCUT music archive

Eagles Of Death Metal – Heart On

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Eagles Of Death Metal – Heart On

Itself a work of classic rock 'n' roll, the new album by Eagles of Death Metal inevitably calls to mind the work of some classic rock 'n' roll bands: The Rolling Stones, The Jon Spencer Blues Explosion, and also drummer/guitarist/producer Josh Homme's other band, Queens Of The Stone Age. More interestingly, perhaps, and a thought probably not problematic to the album’s lusty creators, Homme and singer/guitarist Jesse Hughes, it also makes you think of Dolly Parton. Chiefly, of the singer’s famous assertion on cosmetic surgery: "It takes a lot of money to look this cheap." In the hands of the Eagles of Death Metal – a project that has now, with Heart On reached an unthinkable degree of accomplishment, its third album – there's a similar kind of oxymoron at work. Rather than looking expensive or sounding cheap, however, the working principle with this band would appear to be "You have to be pretty clever to sound this stupid." Heart On is the fullest vindication yet of an unpromising operating procedure. A band seemingly started with light-hearted aims – main man Jesse "The Devil" Hughes had not picked up a guitar prior to writing the songs for the band's first album; this for a long time seemed to be just one among Josh Homme’s many side-projects – the band's ethos seemed disarmingly simple. Here were two self-proclaimed sexy gentlemen, on a mission to make good time music. So far in their career, however, while one might have had opportunity to admire the talk, one may not, however, have properly observed the walk. Obviously, it would be a foolish person who seized on the uncomplicated punning of Heart On and song titles like "Thought I Couldn't Dance (Tight Pants)" (incidentally, a cousin of the Jon Spencer Blues Explosion’s “Bell Bottoms”), and claimed that this was a record on which the pair had turned a new and serious corner in their work. Throughout this extremely enjoyable record, however, it's more straightforward than ever to see this music as being successful on its own terms, even to those maybe not cognizant of (or even interested in) the group's self-referential backstory. It's true, the band's take on, say, the compositions of the 1970s Rolling Stones (opening track "Anything 'Cept The Truth" and "Cheap Thrills" have the riffs; "Now I'm A Fool" duplicates some of that band's exquisite millionaire langour) are undertaken with an occasionally knowing wink. But this isn't, by a long chalk, irony served cold. Much as LCD Soundsystem have done in the dance/rock field, Eagles are doing for rock: bringing, along with the smile of recognition, a huge genuine love for the source material. It's hard to think of a better vindication for their working methods than the effect that the band had on Axl Rose. After referring to them from the stage as "the Pigeons Of Shit Metal", he threw them off the 2006 Guns N' Roses tour after a single show. Weirdly, though, both Rose and the Eagles are ultimately batting for the same team. Both would appear to be log cabin republicans ("I love my guns and my money, and I don't want anyone taking them from me," Hughes claimed in a recent interview). Both aim to appeal to the American heartland (puns notwithstanding, it's this heart, apparently, from which Heart On takes its title). Maybe more significantly, both are nominally in the tradition of uncomplicated good time music, that’s best heard blasting from a bar or customised automobile. With one significant difference – the Eagles seem to still be having a good time making it. Undoubtedly, though, and this is again a fact both Rose and Hughes can swear to, creating such music is not a process that comes without work. In the short but sweet single "Wannabe In LA", Hughes claims he "Came to LA to make rock ‘n’ roll/Along the way I had to sell my soul…" But really, if this album testifies to anything, it's that rock success is never achieved with so simple a transaction. Rather than a knockabout album, Heart On instead sounds meticulously worked over, the likes of “Prissy Prancin’” buffed by producer/engineer Homme (Queens affiliates Troy Van Leeuwen, Alain Johannes and Dave Catching are also all on board) to a devastating shine, while still punching their considerable weight. All round, a party atmosphere prevails – and undoubtedly a good time is had by all. What it was much harder to have forseen, though, is how essential this finished article might become. Eagles Of Death Metal might have started as in-joke among friends, but theirs are the jokes of the best kind, built on a firm foundation of truth. Already, they're laughing pretty loudly – could be that they laugh the longest, too. JOHN ROBINSON UNCUT Q & A: JESSE “BOOTS ELECTRIC” HUGHES You write the songs, Jesse – what does Josh bring to the party? It must take a lot of hard work to make it sound that easy, right? I write the songs, sometimes they’re just coal – sometimes they’re unpolished diamonds. Josh brings the other half of the song – the manner in which to capture it. I bring the devil and he puts it into the bottle. Can you tell me how EODM albums sessions work? We show up in the studio and Joshua is the man man, the producer, the executive dog. I bring the songs, he brings the noise, and then he leaves the studio and I polish it up, then I leave the studio and he polishes it up some more. We set a production standard to make it the best it can be, and then we obey the music. How important is it to try to connect with the American heartland with your music? Like the American heartland, we’re not so pretentious as to believe we made anything up. We just want to follow in a tradition that’s good. We wear our hearts on our sleeves. And when I wear tight pants, you can notice my boner – that’s my killer riff. You were ‘The Devil’, but now you’re ‘Boots Electric’. Is this simply a change of name, or of state of mind? My mother is a devout southern Baptist and she cried when she saw the devil in my name. And have you seen me dance? My boots set the stage on fire! INTERVIEW: JOHN ROBINSON For more album reviews, click here for the UNCUT music archive

Itself a work of classic rock ‘n’ roll, the new album by Eagles of Death Metal inevitably calls to mind the work of some classic rock ‘n’ roll bands: The Rolling Stones, The Jon Spencer Blues Explosion, and also drummer/guitarist/producer Josh Homme’s other band, Queens Of The Stone Age. More interestingly, perhaps, and a thought probably not problematic to the album’s lusty creators, Homme and singer/guitarist Jesse Hughes, it also makes you think of Dolly Parton. Chiefly, of the singer’s famous assertion on cosmetic surgery: “It takes a lot of money to look this cheap.”

In the hands of the Eagles of Death Metal – a project that has now, with Heart On reached an unthinkable degree of accomplishment, its third album – there’s a similar kind of oxymoron at work. Rather than looking expensive or sounding cheap, however, the working principle with this band would appear to be “You have to be pretty clever to sound this stupid.”

Heart On is the fullest vindication yet of an unpromising operating procedure. A band seemingly started with light-hearted aims – main man Jesse “The Devil” Hughes had not picked up a guitar prior to writing the songs for the band’s first album; this for a long time seemed to be just one among Josh Homme’s many side-projects – the band’s ethos seemed disarmingly simple. Here were two self-proclaimed sexy gentlemen, on a mission to make good time music. So far in their career, however, while one might have had opportunity to admire the talk, one may not, however, have properly observed the walk.

Obviously, it would be a foolish person who seized on the uncomplicated punning of Heart On and song titles like “Thought I Couldn’t Dance (Tight Pants)” (incidentally, a cousin of the Jon Spencer Blues Explosion’s “Bell Bottoms”), and claimed that this was a record on which the pair had turned a new and serious corner in their work. Throughout this extremely enjoyable record, however, it’s more straightforward than ever to see this music as being successful on its own terms, even to those maybe not cognizant of (or even interested in) the group’s self-referential backstory.

It’s true, the band’s take on, say, the compositions of the 1970s Rolling Stones (opening track “Anything ‘Cept The Truth” and “Cheap Thrills” have the riffs; “Now I’m A Fool” duplicates some of that band’s exquisite millionaire langour) are undertaken with an occasionally knowing wink. But this isn’t, by a long chalk, irony served cold. Much as LCD Soundsystem have done in the dance/rock field, Eagles are doing for rock: bringing, along with the smile of recognition, a huge genuine love for the source material. It’s hard to think of a better vindication for their working methods than the effect that the band had on Axl Rose. After referring to them from the stage as “the Pigeons Of Shit Metal”, he threw them off the 2006 Guns N’ Roses tour after a single show.

Weirdly, though, both Rose and the Eagles are ultimately batting for the same team. Both would appear to be log cabin republicans (“I love my guns and my money, and I don’t want anyone taking them from me,” Hughes claimed in a recent interview). Both aim to appeal to the American heartland (puns notwithstanding, it’s this heart, apparently, from which Heart On takes its title). Maybe more significantly, both are nominally in the tradition of uncomplicated good time music, that’s best heard blasting from a bar or customised automobile. With one significant difference – the Eagles seem to still be having a good time making it.

Undoubtedly, though, and this is again a fact both Rose and Hughes can swear to, creating such music is not a process that comes without work. In the short but sweet single “Wannabe In LA”, Hughes claims he “Came to LA to make rock ‘n’ roll/Along the way I had to sell my soul…” But really, if this album testifies to anything, it’s that rock success is never achieved with so simple a transaction. Rather than a knockabout album, Heart On instead sounds meticulously worked over, the likes of “Prissy Prancin’” buffed by producer/engineer Homme (Queens affiliates Troy Van Leeuwen, Alain Johannes and Dave Catching are also all on board) to a devastating shine, while still punching their considerable weight.

All round, a party atmosphere prevails – and undoubtedly a good time is had by all. What it was much harder to have forseen, though, is how essential this finished article might become. Eagles Of Death Metal might have started as in-joke among friends, but theirs are the jokes of the best kind, built on a firm foundation of truth. Already, they’re laughing pretty loudly – could be that they laugh the longest, too.

JOHN ROBINSON

UNCUT Q & A: JESSE “BOOTS ELECTRIC” HUGHES

You write the songs, Jesse – what does Josh bring to the party? It must take a lot of hard work to make it sound that easy, right?

I write the songs, sometimes they’re just coal – sometimes they’re unpolished diamonds. Josh brings the other half of the song – the manner in which to capture it. I bring the devil and he puts it into the bottle.

Can you tell me how EODM albums sessions work?

We show up in the studio and Joshua is the man man, the producer, the executive dog. I bring the songs, he brings the noise, and then he leaves the studio and I polish it up, then I leave the studio and he polishes it up some more. We set a production standard to make it the best it can be, and then we obey the music.

How important is it to try to connect with the American heartland with your music?

Like the American heartland, we’re not so pretentious as to believe we made anything up. We just want to follow in a tradition that’s good. We wear our hearts on our sleeves. And when I wear tight pants, you can notice my boner – that’s my killer riff.

You were ‘The Devil’, but now you’re ‘Boots Electric’. Is this simply a change of name, or of state of mind?

My mother is a devout southern Baptist and she cried when she saw the devil in my name. And have you seen me dance? My boots set the stage on fire!

INTERVIEW: JOHN ROBINSON

For more album reviews, click here for the UNCUT music archive

Telepathe – Dance Mother

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Telepathe – Dance Mother

Just when you thought New York's stock of exotically plumed indie had been exhausted following albums by high-profile misfits Gang Gang Dance and Animal Collective, here comes one of that freak-scene's most enchanting new records, Dance Mother by Telepathe. Pronounced “telepathy”, Telepathe are Busy Gangnes and Melissa Livaudais, two fresh-faced girls from Brooklyn who dress like Klaxons' witchy sisters and who, last winter, aroused hipsters everywhere with the treacly twirl of "Chromes On It", which painted them as a kind of ghetto Cocteau Twins. Surprisingly, that song turns out to be one of the clunkier numbers on Dance Mother, which, cosmetically at least, taps an idea of world music – the ethnic chants and rhythms, the general sketchiness – previously explored by the likes of Yeasayer and Gang Gang Dance. While it's hard to say exactly how much influence David Sitek of TV On The Radio has had on Telepathe's development – he’s the record's producer, in whose studio it was made – his warm, gauzy sound and fondness for melody is all over the album. Shades of Telepathe's past as a feel-good drone outfit still linger, and are blended, on the primitive machine-pop of "Drugged" and "Devil Trident", with the girls' swooning harmonies and cascading synths. The way Sitek appears to have moulded Telepathe, it would be tempting to label them Brooklyn's answer to Phil Spector and the Ronettes. A little may go a long way with Telepathe, but there's enough variety here to reward repeated listening. From opener "So Fine"'s sturdy electro to the strangely moving "In Your Line", which could be a Prince slow jam from the mid-'90s, it's clear that, despite their often listless delivery of a lot of arcane lyrics, Gangnes and Livaudais can be pretty persuasive performers. At times, with sci-fi jigs like "Lights Go Down" and "Michael", Telepathe seem to stake out new ground between, say, Bat For Lashes and Hot Chip. Whichever way they're going, Telepathe are heading in the right direction. PIERS MARTIN For more album reviews, click here for the UNCUT music archive

Just when you thought New York’s stock of exotically plumed indie had been exhausted following albums by high-profile misfits Gang Gang Dance and Animal Collective, here comes one of that freak-scene’s most enchanting new records, Dance Mother by Telepathe.

Pronounced “telepathy”, Telepathe are Busy Gangnes and Melissa Livaudais, two fresh-faced girls from Brooklyn who dress like Klaxons’ witchy sisters and who, last winter, aroused hipsters everywhere with the treacly twirl of “Chromes On It”, which painted them as a kind of ghetto Cocteau Twins.

Surprisingly, that song turns out to be one of the clunkier numbers on Dance Mother, which, cosmetically at least, taps an idea of world music – the ethnic chants and rhythms, the general sketchiness – previously explored by the likes of Yeasayer and Gang Gang Dance. While it’s hard to say exactly how much influence David Sitek of TV On The Radio has had on Telepathe’s development – he’s the record’s producer, in whose studio it was made – his warm, gauzy sound and fondness for melody is all over the album.

Shades of Telepathe’s past as a feel-good drone outfit still linger, and are blended, on the primitive machine-pop of “Drugged” and “Devil Trident”, with the girls’ swooning harmonies and cascading synths. The way Sitek appears to have moulded Telepathe, it would be tempting to label them Brooklyn’s answer to Phil Spector and the Ronettes.

A little may go a long way with Telepathe, but there’s enough variety here to reward repeated listening. From opener “So Fine”‘s sturdy electro to the strangely moving “In Your Line”, which could be a Prince slow jam from the mid-’90s, it’s clear that, despite their often listless delivery of a lot of arcane lyrics, Gangnes and Livaudais can be pretty persuasive performers. At times, with sci-fi jigs like “Lights Go Down” and “Michael”, Telepathe seem to stake out new ground between, say, Bat For Lashes and Hot Chip. Whichever way they’re going, Telepathe are heading in the right direction.

PIERS MARTIN

For more album reviews, click here for the UNCUT music archive

Mott The Hoople Reunion Shows Confirmed!

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Mott The Hoople Reunion Shows Confirmed!
Mott The Hoople have confirmed that they are to reunite and play together for the first time in 35 years, to celebrate their 40th anniversary this year. The group featuring all original members; Ian Hunter, Verden Allen, Dale Griffin, Overend Watts and Mick Ralphs will play two shows at London's Ha...

Mott The Hoople have confirmed that they are to reunite and play together for the first time in 35 years, to celebrate their 40th anniversary this year.

The group featuring all original members; Ian Hunter, Verden Allen, Dale Griffin, Overend Watts and Mick Ralphs will play two shows at London’s Hammersmith Apollo on October 2 and 3, 2009.

Formed in 1969, Mott are famous for tracks like the David Bowie-penned “All The Young Dudes” as well as “Roll Away The Stone” and “Honaloochie Boogie”.

Tickets for the Mott The Hoople reunion shows will go onsale

later this month, on January 22.

For more music and film news click here

U2 Reveal New Album Tracklisting

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U2 Reveal New Album Tracklisting

The final track listing for U2’s new album, No Line On The Horizon, has been revealed. The full track listing is: 1. No Line On The Horizon 2. Magnificent 3. Moment of Surrender 4. Unknown Caller 5. I’ll Go Crazy If I Don’t Go Crazy Tonight 6. Get On Your Boots 7. Stand Up Comedy 8. Fez – Being Born 9. White As Snow 10. Breathe 11. Cedars Of Lebanon The album, the band’s 12th studio release and their first in five years, will be released on March 2. The album has been produced by Brian Eno, Danny Lanois and Steve Lillywhite. It will be released in a standard format with 24 page booklet and in digipak format. The digipak includes an extended booklet and the album’s companion film “Linear” by Anton Corbijn. A limited edition 64-page magazine will also be available, featuring the band in conversation with artist Catherine Owens, and new Anton Corbijn photographs. No Line On The Horizon will be released on 180gm vinyl. The cover artwork for the album is an image of the sea meeting the sky by Japanese artist and photographer Hiroshi Sugimoto. Meanwhile, a single, Get On Your Boots, is released on February 15th with a physical format to follow on February 16th through Mercury/Universal. For more music and film news click here

The final track listing for U2’s new album, No Line On The Horizon, has been revealed.

The full track listing is:

1. No Line On The Horizon

2. Magnificent

3. Moment of Surrender

4. Unknown Caller

5. I’ll Go Crazy If I Don’t Go Crazy Tonight

6. Get On Your Boots

7. Stand Up Comedy

8. Fez – Being Born

9. White As Snow

10. Breathe

11. Cedars Of Lebanon

The album, the band’s 12th studio release and their first in five years, will be released on March 2.

The album has been produced by Brian Eno, Danny Lanois and Steve Lillywhite. It will be released in a standard format with 24 page booklet and in digipak format. The digipak includes an extended booklet and the album’s companion film “Linear” by Anton Corbijn. A limited edition 64-page magazine will also be available, featuring the band in conversation with artist Catherine Owens, and new Anton Corbijn photographs. No Line On The Horizon will be released on 180gm vinyl.

The cover artwork for the album is an image of the sea meeting the sky by Japanese artist and photographer Hiroshi Sugimoto.

Meanwhile, a single, Get On Your Boots, is released on February 15th with a physical format to follow on February 16th through Mercury/Universal.

For more music and film news click here

Neil Young To Release Brand New Album

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Neil Young To Release Brand New Album
Neil Young will release Fork In The Road, an album of new material, possibly at the end of March. Young, who is currently on tour in Australia and New Zealand until February 1, has previously uploaded the title track on his website, www.neilyoung.com. The announcement of this release ends mo...

Neil Young will release Fork In The Road, an album of new material, possibly at the end of March.

Young, who is currently on tour in Australia and New Zealand until February 1, has previously uploaded the title track on his website, www.neilyoung.com.

The announcement of this release ends months of speculation regarding Young’s forthcoming projects.

The long-awaited Archives project, which was reportedly due for release in February, now appears to have been put back to Spring. There were also reports that Toast, an unreleased album recorded with Crazy Horse, would see the light of day at the end of January. This also appears to have been shunted off the schedules, at least for the time being.

Unverified reports suggest the album will find Young addressing the current economic crisis, in much the same way that 2006’s Living With War album took on George W Bush and the War On Terror.

You can read UNCUT’s verdict on Neil Young’s Fork In The Road now.

For more music and film news click here

BAFTA nominations, Slumdog Millionaire, The Wrestler

Michael Bonner
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I happened to be at Chalk Farm tube yesterday, waiting for a train. As a bus user, I’m always curious to see what kind of ad campaigns studios are running on the underground for their current releases. At the moment, as a right-thinking film fan, you might be in a state of near-priapic delight at the wealth of prestige movies in cinemas. There’s posters up for The Wrestler, Slumdog Millionaire, The Reader, Milk and Frost/Nixon, breathlessly described with attention-grabbing quotes like “the feel-good film of the decade”, or “a contender for Best Picture”. It is, of course, January, and rather shamelessly the studios are chucking out their high-calibre movies as we pile headlong into Awards season. It strikes me, not for the first time, to being pretty unfair. In an ideal world, it would make more sense for film fans to be treated to quality movies across the course of the year, rather than clustered together in some faintly undignified race to get them under the noses of various voting academies. I’m probably not alone in having wished this, particularly during the gloomy Summer months when everything’s being choked out by Spider Potter And The Quantum Of Crystal Skulls. Anyway, the BAFTA nominations were announced this morning, which I guess is where I’m heading with this blog. Currently, it’s all about the seemingly unstoppable rise of Slumdog Millionaire, a film that five months ago was in danger of losing its American distributor due to concerns over its apparent lack of commercial prospects. There is something, certainly, about the film’s underdog status that’s clearly struck a chord, both in the UK and US. And it’s a good film, although I think tales of its unfettered brilliance have been greatly exaggerated. I wonder, perhaps, if its success is partly reflective of some broader and maybe more nebulous cultural uplift tied in with Barack Obama’s imminent investiture. Hey, here’s a new President, he’s not George W Bush, now everyone wants to feel good, right? But maybe I’m just looking too deeply into it. Certainly, last year, as the credit crunch bit hard and before Obama’s campaign really took off, there was much Oscar talk circulating around The Dark Knight: a bleak film full of unlikeable and dysfunctional characters that seemed, in its way, to chime with the times. On the subject of The Dark Knight, I don’t buy this posthumous Oscar for Heath Ledger chatter, by the way. The internet is full of it – which is perhaps no surprise, considering how vocal a presence the comic book community has online. He’s good, sure, but it’s only a portrayal of a pretty two-dimensional comic book character we’re talking about here. It's hardly Daniel Day Lewis in There Will Be Blood, say. For my part, I’d hope some sense might prevail when the BAFTAs (and, also, the Oscars) are handed out. You can give Mickey Rourke as many awards as you like for his extraordinary work in The Wrestler, and I’m torn equally between Angelina Jolie for Changeling and Kristen Scott Thomas for I’ve Loved You So Long. I don’t think Kate Winslet is particularly good in either The Reader or Revolutionary Road, which is a truly wretched film. Robert Downey Jr was fantastic in Tropic Thunder and Tilda Swinton much better in The Curious Case Of Benjamin Button than she was in Burn After Reading. In terms of Best Film, well, out of all those nominated the one I liked the best was Frost/Nixon. It’s an intelligent and witty film with strong, measured performances that brought what might at first appear a fairly un-sexy subject to life with great skill. But I don't think it'll win. I would have liked excellent Terence Davies' Of Time And The City receive greater recognition, but there. Still, as they say, all will be revealed on February 8. Can you bear the suspense..? At least Masterchef’s back to keep our minds from moithering on such matters too much. Here's the nominations in the key BAFTA categories anyway: BEST FILM THE CURIOUS CASE OF BENJAMIN BUTTON FROST/NIXON MILK THE READER SLUMDOG MILLIONAIRE OUTSTANDING BRITISH FILM HUNGER IN BRUGES MAMMA MIA! MAN ON WIRE SLUMDOG MILLIONAIRE DIRECTOR CHANGELING Clint Eastwood THE CURIOUS CASE OF BENJAMIN BUTTON David Fincher FROST/NIXON Ron Howard THE READER Stephen Daldry SLUMDOG MILLIONAIRE Danny Boyle LEADING ACTOR FRANK LANGELLA Frost/Nixon DEV PATEL Slumdog Millionaire SEAN PENN Milk BRAD PITT The Curious Case of Benjamin Button MICKEY ROURKE The Wrestler LEADING ACTRESS ANGELINA JOLIE Changeling KRISTIN SCOTT THOMAS I’ve Loved You So Long MERYL STREEP Doubt KATE WINSLET The Reader KATE WINSLET Revolutionary Road SUPPORTING ACTOR ROBERT DOWNEY JR. Tropic Thunder BRENDAN GLEESON In Bruges PHILIP SEYMOUR HOFFMAN Doubt HEATH LEDGER The Dark Knight BRAD PITT Burn After Reading SUPPORTING ACTRESS AMY ADAMS Doubt PENÉLOPE CRUZ Vicky Cristina Barcelona FREIDA PINTO Slumdog Millionaire TILDA SWINTON Burn After Reading MARISA TOMEI The Wrestler

I happened to be at Chalk Farm tube yesterday, waiting for a train. As a bus user, I’m always curious to see what kind of ad campaigns studios are running on the underground for their current releases. At the moment, as a right-thinking film fan, you might be in a state of near-priapic delight at the wealth of prestige movies in cinemas. There’s posters up for The Wrestler, Slumdog Millionaire, The Reader, Milk and Frost/Nixon, breathlessly described with attention-grabbing quotes like “the feel-good film of the decade”, or “a contender for Best Picture”. It is, of course, January, and rather shamelessly the studios are chucking out their high-calibre movies as we pile headlong into Awards season.

Continue

Beirut Announces New European Live Dates

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Beirut Announces New European Live Dates
Beirut have announced five European tour dates, around their previously announced appearance at the All Tomorrow's Parties- The Fans Strike Back festival this May. Apart from the Minehead festival show on May 9, Zach Condon's band will also play London's Forum venue the night before (May 8). Beiru...

Beirut have announced five European tour dates, around their previously announced appearance at the All Tomorrow’s Parties- The Fans Strike Back festival this May.

Apart from the Minehead festival show on May 9, Zach Condon’s band will also play London’s Forum venue the night before (May 8).

Beirut’s live shows are as follows, tickets go on general this Friday (January 16).

But, Uncut has an exclusive ticket pre-sale from today until Friday, with seetickets.com!

Follow the link here.

Hamburg Fabrik (May 3)

Amsterdam Paradiso (5)

Brussels Cirque Royal (6)

London The Forum (8)

Minehead All Tomorrow’s Parties – The Fans Strike Back (9)

Paris Bataclan (12)

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Oasis Launch Exclusive Film Online

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Oasis Launch Exclusive Film Online
Oasis have premiered a brand new 18 minute documentary "Dig Out Your Soul In The Streets" on their MySpace page today (January 14). The film made by White Stripes video directors The Malloys was shot in New York last year, when the Gallaghers took to the streets to teach buskers tracks from their ...

Oasis have premiered a brand new 18 minute documentary “Dig Out Your Soul In The Streets” on their MySpace page today (January 14).

The film made by White Stripes video directors The Malloys was shot in New York last year, when the Gallaghers took to the streets to teach buskers tracks from their album Dig Out Your Soul before it’s release in the US.

Watch the exclusive video, the first to debut in High Definition on the site, by going here: MySpace.com/oasis

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The Second Uncut Playlist Of 2009

John Mulvey
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The Neil Young/”Fork In The Road” business I wrote about yesterday seems to be moving on apace, as things suddenly seem to do in Young’s world. Thrasher’s Wheat now have a video and lyrics of the song. And thanks to Mark In Norfolk, who reported rumours that an album, also called “Fork In The Road”, is looking likely to appear in the next couple of months. Sending, we can only assume, “Archives” and “Toast” hurtling back yet again. It did occur to me yesterday, though, that the non-Linc/Volt songs premiered live before Christmas could be “Toast” songs, conceivably? More news as and when, obviously. In the meantime, a meaty second playlist of the year today, kicked off by Springsteen’s “Working On A Dream” album, which briefly manifested itself in the office a couple of days ago. Only heard it all the way through once, and I’m obliged to respect a reviewing embargo on this one for a few more days. I suspect the lawyers won’t be dispatched, though, if I risk revealing that it’s good at this early date. Proper preview next week, with a prevailing wind. 1 Bruce Springsteen – Working On A Dream (Columbia) 2 Pearl Jam – Ten (Epic) 3 Joshua Burkett – Where’s My Hat? (Time-Lag) 4 Various Artists – Pete Fowler’s Psychedelic Guide To Monsterism Island (Lo) 5 Ran Blake – Driftwoods (Tompkins Square) 6 Six Organs Of Admittance – RTZ (Drag City) 7 Neko Case – Middle Cyclone (Anti-) 8 Neil Young – Fork In The Road (Reprise) 9 The Who – The Who Sell Out: Deluxe Edition (Polydor) 10 Ghostface Killah – Fishscale (Def Jam) 11 Papercuts – You Can Have What You Want (Memphis Industries) 12 Rick Tomlinson – Night Tim Recordings From Goteborg (Kning Disk) 13 DM Stith – Heavy Ghost (Asthmatic Kitty) 14 Crystal Stilts – Alight Of Night (Angular) 15 Bat For Lashes – Two Suns (Echo/Parlophone) 16 Bubble Puppy – A Gathering Of Promises (International Artists/Charly) 17 Air France – No Way Down (Something In Construction) 18 Spider & The Flies – Something Clockwork This Way Comes (Mute Irregulars) 19 Ilyas Ahmed – The Vertigo Of Dawn (Time-Lag) 20 Bonnie “Prince” Billy – Beware (Domino)

The Neil Young/”Fork In The Road” business I wrote about yesterday seems to be moving on apace, as things suddenly seem to do in Young’s world. Thrasher’s Wheat now have a video and lyrics of the song.

Continue

Sparks Return To UK For Two Live Shows

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Sparks Return To UK For Two Live Shows
Sparks have announced that they are to play two live dates in London on March 20 and 21, returning after last year's unique 21 album, 21 show run last year. For the show on March 20, the Mael brothers will perform 1974's Kimono My House and on March 21, 1979's No.1 In Heaven. Both nights Sparks w...

Sparks have announced that they are to play two live dates in London on March 20 and 21, returning after last year’s unique 21 album, 21 show run last year.

For the show on March 20, the Mael brothers will perform 1974’s Kimono My House and on March 21, 1979’s No.1 In Heaven.

Both nights Sparks will play from their 21st release Exotic Creatures of the Deep.

For more music and film news click here

Neil Young’s ‘Fork In The Road’ – The Uncut Verdict!

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Neil Young’s ‘Fork In The Road’ – The Uncut Verdict!

As reported last week, Neil Young has surprised fans by posting a brand new song on his website neilyoung.com, sparking the possibility that a new studio album could be on the way, instead of or as well as the long delayed Archives project. The track "Fork In The Road" is available to listen to here. For Uncut's verdict on the new track, click here for John Mulvey's Wild Mercury Sound blog. For more music and film news click here Pic credit: PA Photos

As reported last week, Neil Young has surprised fans by posting a brand new song on his website neilyoung.com, sparking the possibility that a new studio album could be on the way, instead of or as well as the long delayed Archives project.

The track “Fork In The Road” is available to listen to here.

For Uncut’s verdict on the new track, click here for John Mulvey’s Wild Mercury Sound blog.

For more music and film news click here

Pic credit: PA Photos

Neil Young: “Fork In The Road”

John Mulvey
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Not for the first time, we’re starting to get an inkling that Neil Young might have been distracted from releasing “Archives” again. The latest digression was signalled on his run of American shows before Christmas, when something like ten new songs gradually made their way into the setlist. Now, though, a finished track called “Fork In The Road” has turned up, streamed at www.neilyoung.com. Like a lot of the new songs previewed on the tour, “Fork In The Road” is essentially a driving song, presumably connected with the Linc-Volt car project which Young has been alluding to for a while now. And if you were wary of “Living With War”’s somewhat unvarnished feel, you should be aware that, on first acquaintance, “Fork In The Road” makes that set seem glossy and considered. It is, then, a ramshackle roadhouse chugger pitched somewhere between Canned Heat, “Roadrunner” and some weird downhome Velvets, with Young intoning the not-tremendously profound lyrics in a droll, comparatively deep register. The opening lines seem to be, interestingly, “Got a pot belly, it’s not too big/ It gets in my way, when I’m driving my rig.” “Fork In The Road” is kind of fun, though it might alarm a good few Neil fans when heard in conjunction with those other new songs – live versions are all over the internet, if you’re interested. It’s certainly alarmed plenty of our friends over at Thrasher’s Wheat, whose consternation has been collated into a useful article on Young’s latest diversion there. I can see a lot of their points, not least that this seems notably rudimentary, facile stuff even for someone like Young who has made such a virtue of simplicity. What I find amusing, though, is that what “Fork In The Road” and the other Linc-Volt songs seem to represent, in a way, is a kind of gold standard for a lot of rock fans. I often whinge a little here about the doomed and wrong-headed pursuit in certain critical/fannish circles for an idea of authenticity in music, for a direct and unmediated expression of the artist’s passionate creative spark. I always believe that kind of spontaneous art only really occurs in the world of free improvised music, but it strikes me that these Neil Young songs might be just about as close to it as rock ever gets: evidently written swiftly, on the hoof, and recorded – in “Fork In The Road” – with even less rehearsal and preparation than usual. It feels more or less like an instant composition, and one which, again even by Young’s bloody-minded standards, makes no allowances for his listeners whatsoever. We’re accustomed to thinking that songs about love, bereavement and so on are the most acutely personal that a writer can produce – hence the veneration of, say, “Tonight’s The Night”. But those are universal themes, as opposed to some fetishistic private celebration of some trashed old cars, set to cranky, dumb garage boogie. You want a direct insight into Neil Young’s head? Maybe here it is. All things considered, I’d probably rather be listening to “Archives” this morning. But frustration aside, it’s hard not to find new ways of admiring the old curmudgeon as this glut of creativity/farce unravels.

Not for the first time, we’re starting to get an inkling that Neil Young might have been distracted from releasing “Archives” again. The latest digression was signalled on his run of American shows before Christmas, when something like ten new songs gradually made their way into the setlist.

Continue

Bruce Springsteen, Bono, Stevie Wonder For Obama Inauguration Concert

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Bruce Springsteen, Bono, Stevie Wonder For Obama Inauguration Concert
Bruce Springsteen, Bono and Stevie Wonder are amongst the artists confirmed to perform at Barack Obama's official inauguration party taking place this Sunday (January 18) in Washington D.C. Other artists who will appear on the bill include Shakira, Beyonce, Sheryl Crow, James Taylor, Garth Brooks, ...

Bruce Springsteen, Bono and Stevie Wonder are amongst the artists confirmed to perform at Barack Obama‘s official inauguration party taking place this Sunday (January 18) in Washington D.C.

Other artists who will appear on the bill include Shakira, Beyonce, Sheryl Crow, James Taylor, Garth Brooks, Mary J. Blige and John Legend.

The inauguration party gig will take place at the Lincoln Memorial and will be broadcast live on US station HBO from 7pm.

For more music and film news click here

Pic credit: PA Photos

U2 To Debut First New Album Track At The BRIT Awards

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U2 To Debut First New Album Track At The BRIT Awards
U2 have confirmed that they will premiere the first single from their forthcoming album 'No Line On The Horizon" live at this year's BRIT Awards on February 18. The new album's first single "Get On Your Boots" will be performed live at the ceremony at London's Earls Court venue. Ged Doherty, Chair...

U2 have confirmed that they will premiere the first single from their forthcoming album ‘No Line On The Horizon” live at this year’s BRIT Awards on February 18.

The new album’s first single “Get On Your Boots” will be performed live at the ceremony at London’s Earls Court venue.

Ged Doherty, Chairman of The BRITs Committee said, “We’re thrilled to be able to confirm that U2 have chosen The BRITs for their first global TV performance on their new album. Their addition to the line-up for this year’s show makes it possibly the best we have ever had. This cements The BRITs as one of the biggest TV events in the world.”

U2 have previously won seven BRIT Awards including five for Best International Group awards, Best Live Act and also picked up the Outstanding Contribution to Music Award in 2001.

The nominations for this year’s awards will be announced at the BRITS launch at Camden’s Roundhouse venue on January 20.

For more music and film news click here

Pic credit: PA Photos

Pet Shop Boys Get Johnny Marr On Board For New Album

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Pet Shop Boys Get Johnny Marr On Board For New Album

The Pet Shop Boys have confirmed details of their forthcoming new studio album 'Yes' which is set for release on March 23. The duo who to receive the Outstanding Contribution To Music award at the BRIT Awards on February 18, have teamed up with former Smiths and current member of The Cribs, Johnny Marr for several of the new tracks. Owen Pallett, who has previously arranged strings for The Last Shadow Puppets and Arcade Fire's albums also appears. Xenomania, the pop producers behind acts like Girls Aloud also help out with writing duties on three songs, "Love Etc", "More Than A Dream" and "The Way It Used To Be." The Pet Shop Boys 'Yes' album features the following tracks: 'Love Etc.' 'All Over The World' 'Beautiful People' 'Did You See Me Coming?' 'Vulnerable' 'More Than A Dream' 'Building A Wall' 'King Of Rome' 'Pandemonium' 'The Way It Used To Be' 'Legacy' For more music and film news click here

The Pet Shop Boys have confirmed details of their forthcoming new studio album ‘Yes’ which is set for release on March 23.

The duo who to receive the Outstanding Contribution To Music award at the BRIT Awards on February 18, have teamed up with former Smiths and current member of The Cribs, Johnny Marr for several of the new tracks.

Owen Pallett, who has previously arranged strings for The Last Shadow Puppets and Arcade Fire‘s albums also appears.

Xenomania, the pop producers behind acts like Girls Aloud also help out with writing duties on three songs, “Love Etc”, “More Than A Dream” and “The Way It Used To Be.”

The Pet Shop Boys ‘Yes’ album features the following tracks:

‘Love Etc.’

‘All Over The World’

‘Beautiful People’

‘Did You See Me Coming?’

‘Vulnerable’

‘More Than A Dream’

‘Building A Wall’

‘King Of Rome’

‘Pandemonium’

‘The Way It Used To Be’

‘Legacy’

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Paul Weller Announces Forest Live Dates

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Paul Weller Announces Forest Live Dates
Paul Weller has announced a series of headline shows as part of the Forestry Commission's annual Summer woodland shows. Paul Weller will play: Suffolk Thetford Forest (June 5) Cheshire Delamere Forest (12) Nottingham Sherwood Pines Forest Park (19) Gloucestershire Westonbirt Arboretum (20) Sta...

Paul Weller has announced a series of headline shows as part of the Forestry Commission’s annual Summer woodland shows.

Paul Weller will play:

Suffolk Thetford Forest (June 5)

Cheshire Delamere Forest (12)

Nottingham Sherwood Pines Forest Park (19)

Gloucestershire Westonbirt Arboretum (20)

Staffordshire Cannock Chase Forest (26)

Yorkshire Dalby Forest, Near Pickering (27)

For more music and film news click here

Pic credit: PA Photos

War Child Album Artists and Tracklisting Revealed!

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War Child Album Artists and Tracklisting Revealed!

The final tracklisting for the forthcoming War Child 'Heroes' album has been confirmed and artists that feature on the album include Elbow, Beck, Franz Ferdinand and the Hold Steady amongst others. Each artist has covered songs by their own heroes, so Beck has recorded Bob Dylan's "Leopard-Skin Pill-Box Hat", Hot Chip have done Joy Division's "Transmission", Elbow have covered U2's "Running To Stand Still" and The Hold Steady have gone for Bruce Springsteen's "Atlantic City". The full list of artists and songs are listed below. All proceeds from the album, which is released through Parlophone on February 16, will go to the War Child charity, for childern who live with the effects of war. Sir Paul McCartney has said: "I have been supporting War Child since 1995. Their work with children in war zones saves lives and their work with those who take decisions that help them to do something about it saves even more lives. The breadth of talent on this project is amazing; it's great that so many people gave their time, energy and support to this initiative. I urge everyone to support War Child." Elbow singer Guy Garvey has also commented: “War Child do exactly what it says on the tin. These kids shouldn't be in such circumstances in the first place, but they are, so thank god someone's doing something about it.” The tracklist in full: 1. Beck (Bob Dylan: Leopard-Skin Pill-Box Hat) 2. Scissor Sisters (Roxy Music: Do The Strand) 3. Lily Allen (The Clash: Straight To Hell) 4. Duffy (Paul McCartney: Live And Let Die) 5. Elbow (U2: Running To Stand Still) 6. TV On The Radio (David Bowie: Heroes) 7. Hot Chip (Joy Division: Transmission) 8. The Kooks (The Kinks: Victoria) 9. Estelle (Stevie Wonder: Superstition) 10. Rufus Wainwright (Brian Wilson: Wonderful/ Song For Children) 11. Peaches (Iggy Pop: Search And Destroy) 12. The Hold Steady (Bruce Springsteen: Atlantic City) 13. The Like (Elvis Costello: You Belong To Me) 14. Yeah Yeah Yeahs (The Ramones: Sheena Is A Punk Rocker) 15. Franz Ferdinand (Blondie: Call Me) More details are available here: www.warchild.org.uk/heroes For more music and film news click here

The final tracklisting for the forthcoming War Child ‘Heroes’ album has been confirmed and artists that feature on the album include Elbow, Beck, Franz Ferdinand and the Hold Steady amongst others.

Each artist has covered songs by their own heroes, so Beck has recorded Bob Dylan‘s “Leopard-Skin Pill-Box Hat”, Hot Chip have done Joy Division‘s “Transmission”, Elbow have covered U2‘s “Running To Stand Still” and The Hold Steady have gone for Bruce Springsteen‘s “Atlantic City”.

The full list of artists and songs are listed below. All proceeds from the album, which is released through Parlophone on February 16, will go to the War Child charity, for childern who live with the effects of war.

Sir Paul McCartney has said: “I have been supporting War Child since 1995. Their work with children in war zones saves lives and their work with those who take decisions that help them to do something about it saves even more lives. The breadth of talent on this project is amazing; it’s great that so many people gave their time, energy and support to this initiative. I urge everyone to support War Child.”

Elbow singer Guy Garvey has also commented: “War Child do exactly what it says on the tin. These kids shouldn’t be in such circumstances in the first place, but they are, so thank god someone’s doing something about it.”

The tracklist in full:

1. Beck (Bob Dylan: Leopard-Skin Pill-Box Hat)

2. Scissor Sisters (Roxy Music: Do The Strand)

3. Lily Allen (The Clash: Straight To Hell)

4. Duffy (Paul McCartney: Live And Let Die)

5. Elbow (U2: Running To Stand Still)

6. TV On The Radio (David Bowie: Heroes)

7. Hot Chip (Joy Division: Transmission)

8. The Kooks (The Kinks: Victoria)

9. Estelle (Stevie Wonder: Superstition)

10. Rufus Wainwright (Brian Wilson: Wonderful/ Song For Children)

11. Peaches (Iggy Pop: Search And Destroy)

12. The Hold Steady (Bruce Springsteen: Atlantic City)

13. The Like (Elvis Costello: You Belong To Me)

14. Yeah Yeah Yeahs (The Ramones: Sheena Is A Punk Rocker)

15. Franz Ferdinand (Blondie: Call Me)

More details are available here: www.warchild.org.uk/heroes

For more music and film news click here

Bruce Springsteen Scoops Golden Globe Award For The Wrestler

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Bruce Springsteen Scoops Golden Globe Award For The Wrestler
Bruce Springsteen has won a Golden Globe award for his theme song to 'The Wrestler' at the annual ceremony which took place on Sunday in Los Angeles (January 11). Springsteen picked up the Golden Globe for Best Original Song for the title song for the Mickey Rourke starring film. Rourke, himself a...

Bruce Springsteen has won a Golden Globe award for his theme song to ‘The Wrestler’ at the annual ceremony which took place on Sunday in Los Angeles (January 11).

Springsteen picked up the Golden Globe for Best Original Song for the title song for the Mickey Rourke starring film.

Rourke, himself also picked up a Golden Globe for his role as The Wrestler.

Other winners at the 66th annual ceremony included Danny Boyle’s Slumdog Millionaire picking up four awards including Best Drama, and Kate Winslet who picked up two Golden Globes for her role in Revolutionary Road.

A full list of winners can be found here: Goldenglobe.org

For more music and film news click here

Pic: PA Photos

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