Subscribe
Home Blog Page 834

Hunger

Uncut
-
0
Hunger

DIR: STEVE McQUEEN ST: MICHAEL FASSBENDER, LIAM CUNNINGHAM In his first cinema feature, Turner Prize winning artist Steve McQueen adapts to the big screen with a steely grace and toughness. Hunger is about IRA hunger striker Bobby Sands and his sufferings in the Maze prison in the early Eighties. McQueen takes a distinctively nonconformist tack, introducing us to Sands himself only after we’ve seen the daily routines of a jailer, and the living conditions of other prisoners. It’s a powerfully imagistic film: shots of rivers of piss in a prison corridor, and of Sands’ own oddly painterly cell-wall ‘dirty protests’, are among the most troubling visions of the year. McQueen shows a detached, uncompromising command as a director: as witness the film’s extended centrepiece, a long conversation between Sands and a priest, shot in unflinchingly long takes. Michael Fassbender gives a painfully physical performance as Sands, especially in the final sequences in which his near-skeletal body is filmed as if in a Francis Bacon canvas. Whatever your political views on Sands as a martyr figure, Hunger is a hugely powerful film. JONATHAN ROMNEY

DIR: STEVE McQUEEN

ST: MICHAEL FASSBENDER, LIAM CUNNINGHAM

In his first cinema feature, Turner Prize winning artist Steve McQueen adapts to the big screen with a steely grace and toughness. Hunger is about IRA hunger striker Bobby Sands and his sufferings in the Maze prison in the early Eighties.

McQueen takes a distinctively nonconformist tack, introducing us to Sands himself only after we’ve seen the daily routines of a jailer, and the living conditions of other prisoners. It’s a powerfully imagistic film: shots of rivers of piss in a prison corridor, and of Sands’ own oddly painterly cell-wall ‘dirty protests’, are among the most troubling visions of the year.

McQueen shows a detached, uncompromising command as a director: as witness the film’s extended centrepiece, a long conversation between Sands and a priest, shot in unflinchingly long takes. Michael Fassbender gives a painfully physical performance as Sands, especially in the final sequences in which his near-skeletal body is filmed as if in a Francis Bacon canvas. Whatever your political views on Sands as a martyr figure, Hunger is a hugely powerful film.

JONATHAN ROMNEY

Leonard Cohen: Behind The Scenes, Part 1!

Uncut
-
0
Leonard Cohen: Behind The Scenes, Part 1!

Hallelujah!: LEONARD COHEN SPECIAL In the December issue of Uncut, we celebrate Leonard Cohen’s comeback by getting the inside story from his bandmates on their extraordinary year on the road. Here at www.uncut.co.ukover the next month, we’ll be posting the full, unedited transcripts of those interviews in a new, seven-part series. Today we start with Sharon Robinson, his collaborator since 1979, with musical director Roscoe Beck, backing singers Charley and Hattie Webb and others to follow. Click here to read the full transcript. Part two of seven, published online next Wednesday (November 5)! For more music and film news click here

Hallelujah!: LEONARD COHEN SPECIAL

In the December issue of Uncut, we celebrate Leonard Cohen’s comeback by getting the inside story from his bandmates on their extraordinary year on the road. Here at www.uncut.co.ukover the next month, we’ll be posting the full, unedited transcripts of those interviews in a new, seven-part series.

Today we start with Sharon Robinson, his collaborator since 1979, with musical director Roscoe Beck, backing singers Charley and Hattie Webb and others to follow.

Click here to read the full transcript.

Part two of seven, published online next Wednesday (November 5)!

For more music and film news click here

Leonard Cohen: Behind The Scenes, Part 1!

Uncut
-
0
Leonard Cohen: Behind The Scenes, Part 1!

Hallelujah!: LEONARD COHEN SPECIAL In the December issue of Uncut, we celebrate Leonard Cohen’s comeback by getting the inside story from his bandmates on their extraordinary year on the road. Here at www.uncut.co.ukover the next month, we’ll be posting the full, unedited transcripts of those interviews in a new, seven-part series. Today we start with Sharon Robinson, his collaborator since 1979, with musical director Roscoe Beck, backing singers Charley and Hattie Webb and others to follow. Part two of seven, published online next Wednesday (November 5)! *** SHARON ROBINSON First signed on with Cohen for 1979’s Field Commander Cohen jaunt. She's co-written many songs with him (the first, “Summertime,” was covered by Diana Ross and Robert Flack) and produced and sang on his first albums of the new millennium, the excellent 10 New Songs and Dear Heather. Cohen painted the cover for her solo album, Everybody Knows - “A masterpiece,” according to the great man. UNCUT: At what point did you become involved in this tour? SHARON ROBINSON: I came in about a month into the process, in March. Leonard was definitely adjusting to another mode of living. The prospect of touring can be quite daunting. But I think he got through it quite nicely. He maintains a very hospitable and gracious demeanour no matter what’s going on. Occasionally you could see he was daunted during rehearsals. But he’s somewhat of a perfectionist, and I think he loves the work itself. That part of him takes over. No matter what the overriding issue is, his ability to get into the work is unchanged. On the ’93 tour, the backing singers claimed that in rehearsals Leonard made them sing and sing till in tears. Whatever work we did was completely appropriate to the task at hand. There were a couple of times when he would go on and on with a song. “So Long Marianne” I remember doing verse after verse after verse; I guess in an effort to get comfortable with it. Other than that it was completely appropriate. The rehearsals were long, and somewhat exhausting. But we had a big job to accomplish. To a large extent, the arrangements were taken directly from the original recordings of the songs. We would listen, and in many cases simply copy the record. Though a lot of that process occurred before I got there. How about the first performance, in Fredericton. Was he nervous in the build up? I think so. Moreso than our performance, he was not sure how the audience was going to receive the whole idea. He takes all of his work very seriously. He’d determined to do his best possible work. In that respect, he was a little worried before he went on. We go on stage as a team, and we wish ourselves a good show; it’s a group effort back-stage, right before the show. When the audience gives us their complete acceptance and warmth, it tends to take the tension out of it. I’m sure that happened in Fredericton. Did you celebrate afterwards? Leonard leaves the venue immediately after the show, so we don’t have a lot of opportunities to celebrate afterwards together. I think we have some celebrations that are well overdue! How about when you made it over to Europe, for that first show in Dublin? We weren’t sure whether our concert would translate in those larger, open-air venues. Because it is a rather intimate show. That was of concern to everyone. As it turned out, it translated really well. That has a lot to do with the audiences being very familiar with and committed to Leonard’s work as a whole. They go there to love it, and allow themselves to be immersed in it. Glastonbury was one of the key dates on that first leg of the tour. It was certainly the biggest in terms of numbers. What’s your memories of it..? The scale was incredible. Looking out from the stage, and barely being able to see the end of the crowd was really thrilling. It was fantastic. We were lucky there wasn’t much mud that day. I think Leonard was very pleasantly surprised by the response and the involvement of what was basically a younger crowd. During the time we were playing, I think he attracted most of the people that were there. That was something of a revelation to him. He wasn’t sure, the extent to which younger people are interested in his music. But it’s clear that that is a growing segment of his audience. Leonard on tour: what other memories come to mind? He’s a devoted workhorse. He works harder than any of the rest of us, and has reserves of energy that no one can quite tell where they come from. And he is moved by the response of the audience, and the overall sense of an almost spiritual connection that is going on between him, his work and his audience. The whole thing is a real phenomenon, and Leonard is very moved by that. How different is he than when you toured with him before? He’s a little older. He’s been through a number of personal changes. He’s quite a bit happier than when I knew him 30 years ago. His voice is lower, but he’s singing great. He’s doing very well. As he’s said, the unexpected lifting of a certain dark cloud, that depression that has been well-documented, is a big change. Do you socialise much with Leonard? Occasionally. Leonard and I are old friends, we’re very close, and those are magical moments for me. I always love connecting with my old pal. But in this environment it isn’t often possible, because these tours are somewhat of a 24/7 gig, and it takes a lot of focus off the show, to be able to do what we do during it. Sometimes we’ll have something to eat, some coffee, and we talk about family, friends, and the state of things. The kind of things that close friends do. He doesn’t go to his old haunts much as we’re travelling. Except in Montreal, of course, which is his home. We went to a couple of his favourite places there. We often talk about how hard the work is, being on tour. But I asked Leonard once, during the last leg: “But aren’t you enjoying it?” And he did admit that he was enjoying the audience’s pure involvement in the music, and that there was something very special going on. I felt good about bringing that out! Does he ever talk about the theft of his money that was the trigger for this? Well yeah. He and I have talked about it quite a bit. But I was very pleased to see that it hasn’t, as far as I can tell, put a severe dent in Leonard’s mood. Something like that can really be devastating for a person. But he seems to be dealing with it really, really well. Do you think the years at Mt. Baldi gave him a spiritual preparation for this test? I think it must have, yes. Because one of the things you learn is that you don’t necessarily have to be attached to these things that are happening to you, on the outside world. Is it fair to say that although the theft was an awful thing, this tour has been a gift for Leonard? Well, I guess you’d have to look at it that way, in part. Because there’s a lot of value in discipline and work, and the structure of what we’re doing. That can all be quite therapeutic. I think there’s probably an element of that going on for Leonard. When I first heard about the tour, it seemed awful that he’d have to go out on roa,d singing for his supper essentially. Would he rather not have done such a long tour, if he didn’t have some financial impetus to? Perhaps. But if he’s feeling that and thinking that, it’s definitely not part of our day-to-day atmosphere. He’s completely involved in the music, and the excellence of its preparation. And after the Big Chill. Did you celebrate then? No. Everyone went their separate ways. We were somewhat anxious to get back to our lives, and families, and take care of things. There was an element of exhaustion at the end of the last tour. Not terrible. But it was time to go home. And so we went our separate ways. And reconvened at rehearsal. So has the set changed much now you’ve started the second leg of the tour? The set has changed a little. Leonard has added “The Partisan” to the show, and “Famous Blue Raincoat” is coming back in. There’s a heightened musicality, I think, that’s coming from the band. Because we know the set now, but there’s another point of view on it, based on time and experience, and having had some rest. You’re all getting deeper into the songs? Yes, I would say so. There’s more of an interaction between the various elements of the band. Our chops are up, in terms of this music. Are new songs coming in? Not yet. That was supposed to happen during August. But it didn’t! I’m not sure why. NICK HASTED

Hallelujah!: LEONARD COHEN SPECIAL

In the December issue of Uncut, we celebrate Leonard Cohen’s comeback by getting the inside story from his bandmates on their extraordinary year on the road. Here at www.uncut.co.ukover the next month, we’ll be posting the full, unedited transcripts of those interviews in a new, seven-part series.

Today we start with Sharon Robinson, his collaborator since 1979, with musical director Roscoe Beck, backing singers Charley and Hattie Webb and others to follow.

Part two of seven, published online next Wednesday (November 5)!

***

SHARON ROBINSON

First signed on with Cohen for 1979’s Field Commander Cohen jaunt. She’s co-written many songs with him (the first, “Summertime,” was covered by Diana Ross and Robert Flack) and produced and sang on his first albums of the new millennium, the excellent 10 New Songs and Dear Heather. Cohen painted the cover for her solo album, Everybody Knows – “A masterpiece,” according to the great man.

UNCUT: At what point did you become involved in this tour?

SHARON ROBINSON: I came in about a month into the process, in March. Leonard was definitely adjusting to another mode of living. The prospect of touring can be quite daunting. But I think he got through it quite nicely. He maintains a very hospitable and gracious demeanour no matter what’s going on. Occasionally you could see he was daunted during rehearsals. But he’s somewhat of a perfectionist, and I think he loves the work itself. That part of him takes over. No matter what the overriding issue is, his ability to get into the work is unchanged.

On the ’93 tour, the backing singers claimed that in rehearsals Leonard made them sing and sing till in tears.

Whatever work we did was completely appropriate to the task at hand. There were a couple of times when he would go on and on with a song. “So Long Marianne” I remember doing verse after verse after verse; I guess in an effort to get comfortable with it. Other than that it was completely appropriate. The rehearsals were long, and somewhat exhausting. But we had a big job to accomplish. To a large extent, the arrangements were taken directly from the original recordings of the songs. We would listen, and in many cases simply copy the record. Though a lot of that process occurred before I got there.

How about the first performance, in Fredericton. Was he nervous in the build up?

I think so. Moreso than our performance, he was not sure how the audience was going to receive the whole idea. He takes all of his work very seriously. He’d determined to do his best possible work. In that respect, he was a little worried before he went on. We go on stage as a team, and we wish ourselves a good show; it’s a group effort back-stage, right before the show. When the audience gives us their complete acceptance and warmth, it tends to take the tension out of it. I’m sure that happened in Fredericton.

Did you celebrate afterwards?

Leonard leaves the venue immediately after the show, so we don’t have a lot of opportunities to celebrate afterwards together. I think we have some celebrations that are well overdue!

How about when you made it over to Europe, for that first show in Dublin?

We weren’t sure whether our concert would translate in those larger, open-air venues. Because it is a rather intimate show. That was of concern to everyone. As it turned out, it translated really well. That has a lot to do with the audiences being very familiar with and committed to Leonard’s work as a whole. They go there to love it, and allow themselves to be immersed in it.

Glastonbury was one of the key dates on that first leg of the tour. It was certainly the biggest in terms of numbers. What’s your memories of it..?

The scale was incredible. Looking out from the stage, and barely being able to see the end of the crowd was really thrilling. It was fantastic. We were lucky there wasn’t much mud that day. I think Leonard was very pleasantly surprised by the response and the involvement of what was basically a younger crowd. During the time we were playing, I think he attracted most of the people that were there. That was something of a revelation to him. He wasn’t sure, the extent to which younger people are interested in his music. But it’s clear that that is a growing segment of his audience.

Leonard on tour: what other memories come to mind?

He’s a devoted workhorse. He works harder than any of the rest of us, and has reserves of energy that no one can quite tell where they come from. And he is moved by the response of the audience, and the overall sense of an almost spiritual connection that is going on between him, his work and his audience. The whole thing is a real phenomenon, and Leonard is very moved by that.

How different is he than when you toured with him before?

He’s a little older. He’s been through a number of personal changes. He’s quite a bit happier than when I knew him 30 years ago. His voice is lower, but he’s singing great. He’s doing very well. As he’s said, the unexpected lifting of a certain dark cloud, that depression that has been well-documented, is a big change.

Do you socialise much with Leonard?

Occasionally. Leonard and I are old friends, we’re very close, and those are magical moments for me. I always love connecting with my old pal. But in this environment it isn’t often possible, because these tours are somewhat of a 24/7 gig, and it takes a lot of focus off the show, to be able to do what we do during it.

Sometimes we’ll have something to eat, some coffee, and we talk about family, friends, and the state of things. The kind of things that close friends do. He doesn’t go to his old haunts much as we’re travelling. Except in Montreal, of course, which is his home. We went to a couple of his favourite places there. We often talk about how hard the work is, being on tour. But I asked Leonard once, during the last leg: “But aren’t you enjoying it?” And he did admit that he was enjoying the audience’s pure involvement in the music, and that there was something very special going on. I felt good about bringing that out!

Does he ever talk about the theft of his money that was the trigger for this?

Well yeah. He and I have talked about it quite a bit. But I was very pleased to see that it hasn’t, as far as I can tell, put a severe dent in Leonard’s mood. Something like that can really be devastating for a person. But he seems to be dealing with it really, really well.

Do you think the years at Mt. Baldi gave him a spiritual preparation for this test?

I think it must have, yes. Because one of the things you learn is that you don’t necessarily have to be attached to these things that are happening to you, on the outside world.

Is it fair to say that although the theft was an awful thing, this tour has been a gift for Leonard?

Well, I guess you’d have to look at it that way, in part. Because there’s a lot of value in discipline and work, and the structure of what we’re doing. That can all be quite therapeutic. I think there’s probably an element of that going on for Leonard.

When I first heard about the tour, it seemed awful that he’d have to go out on roa,d singing for his supper essentially. Would he rather not have done such a long tour, if he didn’t have some financial impetus to?

Perhaps. But if he’s feeling that and thinking that, it’s definitely not part of our day-to-day atmosphere. He’s completely involved in the music, and the excellence of its preparation.

And after the Big Chill. Did you celebrate then?

No. Everyone went their separate ways. We were somewhat anxious to get back to our lives, and families, and take care of things. There was an element of exhaustion at the end of the last tour. Not terrible. But it was time to go home. And so we went our separate ways. And reconvened at rehearsal.

So has the set changed much now you’ve started the second leg of the tour?

The set has changed a little. Leonard has added “The Partisan” to the show, and “Famous Blue Raincoat” is coming back in. There’s a heightened musicality, I think, that’s coming from the band. Because we know the set now, but there’s another point of view on it, based on time and experience, and having had some rest.

You’re all getting deeper into the songs?

Yes, I would say so. There’s more of an interaction between the various elements of the band. Our chops are up, in terms of this music.

Are new songs coming in?

Not yet. That was supposed to happen during August. But it didn’t! I’m not sure why.

NICK HASTED

Neil Young Archives Available To Pre-Order!

Uncut
-
0
Neil Young Archives Available To Pre-Order!
Neil Young's long-awaited Archives Vol 1 (1963 - 1972) is available to pre-order on Amazon.com; with the release date set for January 27, 2009. The 10-disc collection will be coming out on Blu-Ray as well as DVD, though as previously reported, Young has said: "Blu-ray is the future. It sounds the b...

Neil Young‘s long-awaited Archives Vol 1 (1963 – 1972) is available to pre-order on Amazon.com; with the release date set for January 27, 2009.

The 10-disc collection will be coming out on Blu-Ray as well as DVD, though as previously reported, Young has said: “Blu-ray is the future. It sounds the best, the navigating system is the best. I’ve made a lot of CDs and we’ve made a lot of DVDs, and Blu-ray technology is so far superior to anything else. The fact there aren’t many players out there now doesn’t meant that much to me, because it is the future, so I would rather focus on what’s next. If you were to get a Blu-ray of the ‘Archive,’ you would get the best.”

So far only listed on the American version of Amazon, the list price is $431.99 for the Blu-Ray set and $344.99 on DVD.

The estimated running time listed on the site is 1200 mins, based on two hours per disc.

For more music and film news click here

Pic credit: PA Photos

Sunn 0))): “Dømkirke”

John Mulvey
-
0

Not that I take much notice of these things, but it did seem fitting that a copy of the new Sunn 0))) album arrived just in time for Halloween. Like most of their crushingly slow meditations on doom, “Dømkirke” would probably be interpreted by many listeners as an apt soundtrack for the gates of hell opening at an agonisingly slow pace. I personally find their music mostly quite restful, in much the same way as those early Earth albums – so critical to the original premise of Sunn 0))), of course – sound like contemplative ambience to me. But for all the abstract pleasures of this music, it’s hard not to be titillated by the concept of “Dømkirke”. This one is a limited edition double vinyl live album, magnificently produced and packaged, recorded last year in Bergen Cathedral, and I imagine probably sold out by now. According to the sleevenotes, Sunn 0))) were invited to play the cathedral, and commissioned to write a piece which pointed up the affinities between their excruciating metal drones and medieval Gregorian chants which reflected, according to Nicholas H Mellerhaug in those notes, “the despair, the terrors and darkness of the world”. There’s an element of inviting the devil into God’s house here, intriguingly, compounded by the presence of vocalist Attila Csihar contributing ghastly ululations – a man whose background is in the same death metal scene that resulted in various unpleasant activities in and around Bergen some years back. Sunn 0))) are all about intimations of doom rather than explicit satanic panto, of course, the cowls notwithstanding. And even the opening “Why Dost Thou Hide Thyself In Clouds” is subtle, after a fashion: operatic incantations from Csihar, and Steve Moore playing the reverberant chamber of the cathedral as much as he’s playing the pipe organ. As usual, Stephen O’Malley and Greg Anderson are joined by other collaborators, and Lasse Marhaug’s electronics come to prominence on “Cymatics”, a juddering noise jam, with plentiful howls of horror, that gets a bit too close to the industrial scene for my delicate tastes. But “Cannon” is fantastic; 18 minutes of creeping belligerence that’s as graceful and impactful a piece as Sunn 0))) have ever recorded. Among the brilliant live shots that adorn the package, there are great label shots of the congregation – predominantly bearded men looking very cold and intense. For all their stoic expressions, it must have been a thrilling event. Now, should I take this home and play it to the trick-or-treaters tonight?

Not that I take much notice of these things, but it did seem fitting that a copy of the new Sunn 0))) album arrived just in time for Halloween. Like most of their crushingly slow meditations on doom, “Dømkirke” would probably be interpreted by many listeners as an apt soundtrack for the gates of hell opening at an agonisingly slow pace.

Continue

Beatles Make Deal To Appear On Computer Game

Uncut
-
0
Beatles Make Deal To Appear On Computer Game
The Beatles have agreed a groundbreaking deal that will see them star in their own version of popular computer game franchise, ‘Rock Band’. The game, which allows players to perform in a virtual band, will feature an experiential progression through the music of The Beatles. The agreement stru...

The Beatles have agreed a groundbreaking deal that will see them star in their own version of popular computer game franchise, ‘Rock Band’.

The game, which allows players to perform in a virtual band, will feature an experiential progression through the music of The Beatles. The agreement struck between Apple Corps and EMI marks the first ever presentation of The Beatles music in computer game format.

The game received creative input from Sir Paul McCartney and Ringo Starr, along with Yoko Ono Lennon and Olivia Harrison. In addition, Giles Martin, son of famed Beatles producer Sir George Martin, will serve as Music Producer.

Speaking on the project, Sir Paul McCartney said: “It’s a fun idea which broadens the appeal of The Beatles and their music. I like people having the opportunity to get to know the music from the inside out.”

Ringo Starr added: “The Beatles continue to evolve with the passing of time and how wonderful that The Beatles’ legacy will find its natural progression into the 21st century through the computerised world we live in. Let the games commence.”

The new partnership is the first time the band’s songs will be used in a computer game.

For more music and film news click here

Neil Young Scraps Picketed Gig

Uncut
-
0
Neil Young Scraps Picketed Gig
Neil Young has cancelled an LA concert, scheduled for tonight (October 30) due to a workers’ union dispute with the venue. Coinciding with an organised union picket by employees at The Forum arena clashing with the owner of the venue, Faithful Central Bible Church, over contract issues, the singe...

Neil Young has cancelled an LA concert, scheduled for tonight (October 30) due to a workers’ union dispute with the venue.

Coinciding with an organised union picket by employees at The Forum arena clashing with the owner of the venue, Faithful Central Bible Church, over contract issues, the singer has decided to postpone the show until next year out of respect for the Intl. Assn. of Theatrical Stage Employees (IATSE). Young and his wife are both honorary lifetime members of the group.

In a statement, Young explained: “I am extremely disappointed to have to choose between satisfying my fans or backing my brothers and sisters of the IATSE.”

Young is currently touring North America in the build up to the November 25 release of an archival live album, Sugar Mountain: Live at Canterbury House 1968.

For more music and film news click here

Pic credit: PA Photos

Former Oasis Discoverer Announces Retirement on Facebook

Uncut
-
0
Former Oasis Discoverer Announces Retirement on Facebook

Scottish music industry mogul Alan McGee called time on his illustrious career last month - via a Facebook status update. Speaking to BBC 6 Music this week, McGee said: "It was on my Facebook. My status said: 'Glad I'm not a manager any more, I really recommend it.'" McGee, who spent 25 years in the music business, running Creation Records and working with the likes of Oasis, the Libertines and the Charlatans, revealed his reasons for bowing out: "I stopped doing the record company about a year or two ago because I think they're pointless things, like dinosaurs or trams or something. I think I'm a man of the times, kind of like Tony Wilson really. We don't really have a place in the music industry anymore because we actually like music." McGee added: "I think the prerequisite for being in the music industry is not liking music and playing the corporate game, agreeing with your boss." For more music and film news click here Pic credit: PA Photos (McGee arriving at a reception at No 10 Downing Street with Oasis' Noel Gallagher)

Scottish music industry mogul Alan McGee called time on his illustrious career last month – via a Facebook status update.

Speaking to BBC 6 Music this week, McGee said: “It was on my Facebook. My status said: ‘Glad I’m not a manager any more, I really recommend it.'”

McGee, who spent 25 years in the music business, running Creation Records and working with the likes of Oasis, the Libertines and the Charlatans, revealed his reasons for bowing out: “I stopped doing the record company about a year or two ago because I think they’re pointless things, like dinosaurs or trams or something. I think I’m a man of the times, kind of like Tony Wilson really. We don’t really have a place in the music industry anymore because we actually like music.”

McGee added: “I think the prerequisite for being in the music industry is not liking music and playing the corporate game, agreeing with your boss.”

For more music and film news click here

Pic credit: PA Photos

(McGee arriving at a reception at No 10 Downing Street with Oasis’ Noel Gallagher)

Snow Patrol Announce UK Arena Tour

Uncut
-
0
Snow Patrol Announce UK Arena Tour
Snow Patrol have announced a full UK arena tour to take place early next year. The band, who's latest album A Hundred Million Suns, is out this week will kick off their Taking Back The Cities Tour at the Bournemouth BIC on February 22 and tickets are available as a special bundle with a copy of the...

Snow Patrol have announced a full UK arena tour to take place early next year.

The band, who’s latest album A Hundred Million Suns, is out this week will kick off their Taking Back The Cities Tour at the Bournemouth BIC on February 22 and tickets are available as a special bundle with a copy of the album included.

Tickets will be available exclusively from the band’s website www.snowpatrol.com between 9am on Friday (October 31) and midnight on November 1.

The limited concert ticket and album bundle with no booking

fee is priced £38.99 (£41.49 for London).

Tickets will go on general sale to the public from November 7.

Snow Patrol’s live dates will be:

Bournemouth BIC (February 22)

Glasgow SECC (24)

Aberdeen AECC (26)

Dublin Point Depot (28)

Sheffield Hallam Arena (March 4)

Liverpool Arena (6)

Manchester MEN (7)

Cardiff Arena (8)

Newcastle Arena (10)

Birmingham NEC (11)

Nottingham Arena (12)

London O2 (14)

Belfast Odyssey (19)

For more music and film news click here

Play Beatles Songs On Rock Band?

Uncut
-
0
Play Beatles Songs On Rock Band?
Beatles songs could be available digitally for the first time ever, as part of the game Rock Band, an MTV Networks announcement is expected to say this afternoon (October 30) in New York. The Beatles' Apple Corps Ltd and Viacom Inc's MTV Networks who make the game have reportedly been discussing a ...

Beatles songs could be available digitally for the first time ever, as part of the game Rock Band, an MTV Networks announcement is expected to say this afternoon (October 30) in New York.

The Beatles’ Apple Corps Ltd and Viacom Inc’s MTV Networks who make the game have reportedly been discussing a deal over the year, and “a global music project” is due to be officially announced at a conference at 2pm (GMT).

The Beatles have notoriously guarded the rights to their music, especially with online distribution sites such as iTunes. Licensing tracks to Rock Band would be a first for them.

AC/DC, another band who have refused to make their catalogue available digitally, have recently released tracks to a similar game Guitar Hero, which allows fans to play along to their favourite rock tracks.

Come back to www.uncut.co.uk this afternoon, when we’ll have full details of the announcement.

The Who Announce Grand Prix Show

Uncut
-
0
The Who Announce Grand Prix Show
The Who have announced that they play a one-off show at the Formula 1 Australian Grand Prix on March 29. The show in Melbourne is the concluding race in round one of the world championship, and the band follow on from last year's performer's Kiss who played after last year's Australian Grand Prix. ...

The Who have announced that they play a one-off show at the Formula 1 Australian Grand Prix on March 29.

The show in Melbourne is the concluding race in round one of the world championship, and the band follow on from last year’s performer’s Kiss who played after last year’s Australian Grand Prix.

Pete Townshend comments on their unique show, saying: “This is a special occasion for us to come and be with you guys at the time of the Grand Prix. KISS did it last year and we hear they played to big crowds, but we hope to see an even bigger crowd when we hit Melbourne in March.”

Australian Grand Prix Corporation’s Zara Lawless explains the choice of act for the special show, saying: “Few bands can lay claim to being among rock royalty, but British rock gods The Who must surely feature on any list of the best bands of all-time. Last year, an estimated 65,000 people stuck around after the big race to see a full, two-hour concert extravaganza from KISS. If you thought that was big, I urge you to get along to next year’s Grand Prix to be part of an event that people will talk about for years to come.”

For more information and tickets, go to www.grandprix.com.au

For more music and film news click here

Marnie Stern: “This Is It And I Am It. . .”

John Mulvey
-
0

I was just re-reading my blog on the first Marnie Stern album, “In Advance Of The Broken Arm”, from last year. I mentioned plenty of stuff about Lightning Bolt and Sleater-Kinney (and slyly avoided a couple of other reference points, more of which later), and about how Stern had certain similarities with early PJ Harvey. “It reminds me, in a way, of how PJ Harvey was initially so inspired by the music of Big Black and the '80s US underground, but twisted those influences into something that was accessible but never felt compromised,” I wrote. “I think Stern draws on the leftfield rock of the past few years in a similar way. And I also reckon that there's enough wit, melody and energy, never mind finger-shredding technical prowess, here to suggest that, like Harvey, Stern might go on to bigger things.” Now we have the second Marnie Stern album, that doesn’t seem quite so likely. Ostensibly, she’s made more or less the same album all over again, though fortunately with such exuberance and virtuosity that it’s hard to get too knotted up about artistic progress or whatever. The first great thing about this one is the title – “This Is It And I Am It And You Are It And So Is That And He Is It And She Is It And It Is It And That Is That” – which goes some way to putting the stream-of-consciousness-and-energy that is Stern’s schtick down on paper. That schtick, if you missed it first time, is built around her high-speed, tapped guitar-shredding. Each song is more or less built around these bombastic squiggles, with Stern’s own vocals and Zach Hill’s dynamically flailing drum strategy manically in thrall to what are, basically, guitar shop technical-wanks. It’s one of the more daring and successful re-inventions that I can recall in recent times, since Stern effectively makes artpunk capital out of (and here come those previously suppressed comparisons) Eddie Van Halen solos and, again and again, Rush’s “Spirit Of Radio”. I can’t pretend to be a fan of either of those things. And I’m anxious that you don’t think Stern’s music is some kind of irony-laden stunt; comparable maybe to some bootleg mixer like Girl Talk hacking up ‘80s hits as raw material for an exercise in party-rocking dialectics (In this new Pitchfork interview, interestingly, she plausibly makes a case for never really hearing those metal bands, and being influenced instead by math/prog bands like Don Caballero). Instead, as great tracks here like “The Crippled Jazzer” and "Shea Stadium" prove, Stern has noticed what many of us missed; that this historically self-indulgent technique can, in a new context, sound unexpectedly spiky and vigorous. How many times Stern can use it as the crux of her music remains to be seen, of course. Will the fireworks still sound exciting on her fifth album, or will she have found another way of presenting her undoubted, wilful songwriting talent by then? That may be something foolish to speculate about, or it may be a reason why a UK label – in spite of plentiful buzz round the first album – hasn’t picked up such a blazing talent. I suppose that’s not our worry, ultimately: this is another terrific album, and I’d really like to finally see her do this live, too

I was just re-reading my blog on the first Marnie Stern album, “In Advance Of The Broken Arm”, from last year. I mentioned plenty of stuff about Lightning Bolt and Sleater-Kinney (and slyly avoided a couple of other reference points, more of which later), and about how Stern had certain similarities with early PJ Harvey.

Continue

Dylan tribute at the Vienna Film Festival

Michael Bonner
-
0
Bob Dylan is everywhere and nowhere here at the Viennale, Vienna’s annual film festival, where your Uncut reporter has spent another arduous week slurping free champagne and scoffing luxury cakes on your behalf. Dylan was invited as guest of honour but, of course, declined. All the same, hardcore ...

Bob Dylan is everywhere and nowhere here at the Viennale, Vienna’s annual film festival, where your Uncut reporter has spent another arduous week slurping free champagne and scoffing luxury cakes on your behalf. Dylan was invited as guest of honour but, of course, declined. All the same, hardcore fans have gorged on a wide selection of Dylan-themed films, photo exhibitions, talks and concerts. There is even a “Bob burger” on sale in one of the festival’s main cinemas.

Continue

Randy Newman Postpones First London Show In Five Years

Uncut
-
0
Randy Newman Postpones First London Show In Five Years
Randy Newman has had to postpone his forthcoming European tour, including his first UK show in five years, due to ill health. The veteran singer, who was awarded an Oscar for Best Song in 2001, was due to perform at the South Bank’s Royal Festival Hall on November 19. The press statement reads: ...

Randy Newman has had to postpone his forthcoming European tour, including his first UK show in five years, due to ill health.

The veteran singer, who was awarded an Oscar for Best Song in 2001, was due to perform at the South Bank’s Royal Festival Hall on November 19.

The press statement reads: “It is with great regret that Grammy and Academy Award-winner Randy Newman has had to postpone his forthcoming European tour on doctor’s orders because of physical limitations and severe pain caused by stenosis in the lower back and neck.”

The tour was due to start in Berlin on Saturday (November 1) and Newman was to debut songs from his latest album Harps And Angels live.

Randy Newman apologises to fans saying: “I deeply regret not being able to come. I like it so much in Europe and I’ve always been treated so well. I’ll get there as soon as I can.”

Ticket holders are advised to contact venues for refund information.

Rescheduled dates will be announced shortly.

For more music and film news click here

The Hives Sued By LA Songwriter

Uncut
-
0
The Hives Sued By LA Songwriter

Swedish rockers The Hives are being sued for plagirism by LA songwriter Jason Shapiro who says they have stolen a riff and vocal line from his song "Why You?" The riff, allegedly used by The Hives in their song "Tick Tick Boom", was spotted by friends of Shapiro on a trailer for the film Get Smart. Speaking with LA Weekly, Shapiro said: “I absolutely love The Hives and don’t feel great about suing a band I love. But I also feel credit is due where it is due if you borrow a riff.” Shapiro, who wrote songs for the Roofies, Celebrity Skin and Three Way, consulted a musicologist on the similarities before taking legal action. “He said the part in question was very similar and its uniqueness led him to believe it wasn’t just a coincidence.” For more music and film news click here

Swedish rockers The Hives are being sued for plagirism by LA songwriter Jason Shapiro who says they have stolen a riff and vocal line from his song “Why You?”

The riff, allegedly used by The Hives in their song “Tick Tick Boom”, was spotted by friends of Shapiro on a trailer for the film Get Smart.

Speaking with LA Weekly, Shapiro said: “I absolutely love The Hives and don’t feel great about suing a band I love. But I also feel credit is due where it is due if you borrow a riff.”

Shapiro, who wrote songs for the Roofies, Celebrity Skin and Three Way, consulted a musicologist on the similarities before taking legal action. “He said the part in question was very similar and its uniqueness led him to believe it wasn’t just a coincidence.”

For more music and film news click here

AC/DC Rock The World

Uncut
-
0
AC/DC Rock The World

The new AC/DC album Black Ice, has topped the charts in an impressive 29 countries on week of release. The Veteran Aussie rockers, who kicked off the North American leg of their world tour on Tuesday (October 28), have achieved global success with the record a week after its release. Black Ice is their first studio album in eight years, and has topped the charts in the UK, America, Germany, Canada, France, Argentina, Japan, Australia, Belgium, Finland, Italy, New Zealand, Sweden and Switzerland. Black Ice has already sold over five million copies worldwide, and is the first AC/DC album to top the UK album charts since Back in Black in 1980. Frontman Brian Johnson described the album as the “best one we've done”, commenting that while Back in Black was great for its time, Black Ice demonstrates the band's “versatility”, with few changes from their previous efforts. For more music and film news click here

The new AC/DC album Black Ice, has topped the charts in an impressive 29 countries on week of release.

The Veteran Aussie rockers, who kicked off the North American leg of their world tour on Tuesday (October 28), have achieved global success with the record a week after its release. Black Ice is their first studio album in eight years, and has topped the charts in the UK, America, Germany, Canada, France, Argentina, Japan, Australia, Belgium, Finland, Italy, New Zealand, Sweden and Switzerland.

Black Ice has already sold over five million copies worldwide, and is the first AC/DC album to top the UK album charts since Back in Black in 1980.

Frontman Brian Johnson described the album as the “best one we’ve done”, commenting that while Back in Black was great for its time, Black Ice demonstrates the band’s “versatility”, with few changes from their previous efforts.

For more music and film news click here

Sgt Pepper Artist Puts Iconic Sleeve Art Up for sale

Uncut
-
0
Sgt Pepper Artist Puts Iconic Sleeve Art Up for sale
Sir Peter Blake, the Godfather of British Pop Art, is putting 40 pieces of his work up for sale at a public exhibition this November. The showcase, hosted at the Mill House Gallery in Parbold, will be displaying around 40 colourful silk screen prints that reflect the richness and diversity of Blak...

Sir Peter Blake, the Godfather of British Pop Art, is putting 40 pieces of his work up for sale at a public exhibition this November.

The showcase, hosted at the Mill House Gallery in Parbold, will be displaying around 40 colourful silk screen prints that reflect the richness and diversity of Blake’s work.

All are welcome, and prices start from £350 for anyone wishing to pick up some pop art history.

Blake won international fame in the ‘60s with the British Pop Art movement, including his iconic artwork for The Beatles album Sgt Pepper’s Lonely Hearts Club Band.

Blake’s philosophy was “to make art accessible as a visual equivalent to pop music”.

This is echoed by the multitude of album covers produced by Blake, including: Stop the Clocks ( Oasis, 2006); Do They Know It’s Christmas (Band Aid, 1984); Stanely Road (Paul Weller, 1995); and Live Aid and Live 8 (1985 & 2007).

For more music and film news click here

Pic credit: PA Photos

Wilco Offer Free Song In Return For US Election Vote Pledges

Uncut
-
0
Wilco Offer Free Song In Return For US Election Vote Pledges
Wilco are offering free downloads of a rare unreleased track in exchange for fans registering to vote in the upcoming US presidential election. The live version of "I Shall Be Released" is available on their website to all who pledge to vote in the election next Tuesday (November 4). The band have...

Wilco are offering free downloads of a rare unreleased track in exchange for fans registering to vote in the upcoming US presidential election.

The live version of “I Shall Be Released” is available on their website to all who pledge to vote in the election next Tuesday (November 4).

The band have already begun work on their seventh album, which Jeff Tweedy expects to be released by Spring 2009. The record is due to be a return to the studio-constructed soundscapes of Yankee Hotel Foxtrot and A Ghost is Born, as opposed to the performance-based Sky Blue Sky.

Tweedy, speaking to US publication Rolling Stone says he expects Wilco to “allow ourselves a little bit more leeway in terms of sculpting the sound in the studio and doing overdubs and using the studio as another instrument. Last time around, it was more of a document.”

Guitarist Nels Cline added: “Sonically it’s going to be a much wilder, much more unexpected record. There’s going to be too much to choose from, right now it’s an embarrassment of riches, for sure.”

For more music and film news click here

Elvis Presley Highest Paid Dead Celebrity

Uncut
-
0
Elvis Presley Highest Paid Dead Celebrity
Elvis Presley, who died in 1977, is this year's highest paid dead celebrity, for the second consecutive year, according to the annual Forbes dead 'rich list'. Presley earned $52 million between October 2007 and October 2008, in part due to it being the 30th annivesrsary since his death, with increa...

Elvis Presley, who died in 1977, is this year’s highest paid dead celebrity, for the second consecutive year, according to the annual Forbes dead ‘rich list’.

Presley earned $52 million between October 2007 and October 2008, in part due to it being the 30th annivesrsary since his death, with increased record sales and visitors to his Graceland estate.

The finanicial news magazine also found that Charles Schulz, creator of Peanuts, who died in 2000, earned $33 million in the same time period.

Heath Ledger, who died in January this year, is estimated to have earned $20 million since the posthumous release of The Dark Knight, placing him third.

Late Beatle John Lennon is the only musician apart from Presley to make the top 10, with earnings around $9 million over the year.

This year’s Forbes.com highest-earning dead celebrities top 10 is:

1. Elvis Presley – $52 million

2. Charles M. Shulz – $33m

3. Heath Ledger – $20m

4. Albert Einstein – $18m

5. Aaron Spelling – $15m

6. Dr Seuss (Theodor Geisel) – $12m

7. John Lennon – $9m

8. Andy Warhol – $9m

9. Marilyn Monroe – $6.5m

10. Steve McQueen – $6m

For more music and film news click here

Status Quo To Release 75th Single!

Uncut
-
0
Status Quo To Release 75th Single!
Status Quo are set to release their first ever festive single, "It's Christmas Time", and it's taken them 75 singles to do so. The band who are celebrating 40 years in the music business this year, will release the Rick Parfitt-penned track on December 1. Available as a digital download, and CD si...

Status Quo are set to release their first ever festive single, “It’s Christmas Time”, and it’s taken them 75 singles to do so.

The band who are celebrating 40 years in the music business this year, will release the Rick Parfitt-penned track on December 1.

Available as a digital download, and CD single, “It’s Christmas Time” will also be issued as a limited edition 7″ picture disc backed with “Pictures of Matchstick Men” and “Ice In The Sun”.

Rick Parfitt commenting on their first Xmas song says: “Everyone seems to think that Quo have done Christmas singles before but we never have and, after forty years, we thought we should. It’s always been my favourite time of the year and we wanted to bring out some of the old Christmas spirit. Another motivation was to try and keep ‘X Factor’ off the top spot but now it looks like it might be the comedians we have to watch out for!”

For more music and film news click here

Pic credit: PA Photos

1...833834835...1,270Page 834 of 1,270

SHOP UNCUT