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Love – Forever Changes

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Love – Forever Changes

A suite of songs as seductive as honey-traps, with such powerful psychological associations of sunshine that they almost warm the skin on your arms, Forever Changes was – we know – fashioned out of chaos in 1967 by a complex, multi-racial Los Angeles group reeling from the effects of fractious egos and drugs. You could call it an album of many realities, from Dali to Don Quixote, and certainly, when it came to the existential ‘moment’, few singers were as voluptuously aware of their senses as Arthur Lee (“And it’s so for-real to touch, to smell, to feel, to know where you are here”). Filed in a thousand iPods under Rock (it isn’t, really), but too weird to be billeted alongside The Turtles in Pop, Forever Changes is an enduring imponderable. With its fiesta-like melodies, and startling shifts from the benign to the macabre, it’s like “Do You Know The Way To San José?”, if LA was a great big freeway with a line of hearses stretching out to the airport. Rhino’s new Collector’s Edition – a two-CD set – expands on the 2001 remaster, keeping the sound quality high but consigning the bonus material to a second disc. This 78-minute disc, unusually strong for a reissue of this kind, begins with an ‘alternate mix’ of the entire album. Imagine: the songs are familiar, but the voices and instruments all occupy completely different positions in the stereo picture. This makes for tremendous fun, and personally, while it may be heresy to say so, I’ve started preferring a few of these mixes (“Alone Again Or”, “The Daily Planet”) to the originals. Highlights from the studio tracking sessions, meanwhile, allow us to observe the music being made. This proves less enjoyable. “The Red Telephone” disintegrates in stoned laughter and profanities; Love were clearly out of their brains. More worthy of interest is the selection of demos and outtakes, including an electric guitar prototype of “Andmoreagain”, a dynamite backing track for “A House Is Not A Motel”, and a breezy little tune called “Wonder People (I Do Wonder)” which will remind you of Tom Jones’s “It’s Not Unusual”. DAVID CAVANAGH

A suite of songs as seductive as honey-traps, with such powerful psychological associations of sunshine that they almost warm the skin on your arms, Forever Changes was – we know – fashioned out of chaos in 1967 by a complex, multi-racial Los Angeles group reeling from the effects of fractious egos and drugs. You could call it an album of many realities, from Dali to Don Quixote, and certainly, when it came to the existential ‘moment’, few singers were as voluptuously aware of their senses as Arthur Lee (“And it’s so for-real to touch, to smell, to feel, to know where you are here”).

Filed in a thousand iPods under Rock (it isn’t, really), but too weird to be billeted alongside The Turtles in Pop, Forever Changes is an enduring imponderable. With its fiesta-like melodies, and startling shifts from the benign to the macabre, it’s like “Do You Know The Way To San José?”, if LA was a great big freeway with a line of hearses stretching out to the airport.

Rhino’s new Collector’s Edition – a two-CD set – expands on the 2001 remaster, keeping the sound quality high but consigning the bonus material to a second disc. This 78-minute disc, unusually strong for a reissue of this kind, begins with an ‘alternate mix’ of the entire album. Imagine: the songs are familiar, but the voices and instruments all occupy completely different positions in the stereo picture. This makes for tremendous fun, and personally, while it may be heresy to say so, I’ve started preferring a few of these mixes (“Alone Again Or”, “The Daily Planet”) to the originals.

Highlights from the studio tracking sessions, meanwhile, allow us to observe the music being made. This proves less enjoyable. “The Red Telephone” disintegrates in stoned laughter and profanities; Love were clearly out of their brains. More worthy of interest is the selection of demos and outtakes, including an electric guitar prototype of “Andmoreagain”, a dynamite backing track for “A House Is Not A Motel”, and a breezy little tune called “Wonder People (I Do Wonder)” which will remind you of Tom Jones’s “It’s Not Unusual”.

DAVID CAVANAGH

The Pogues – Just Look Them Straight In The Eye

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The Pogues – Just Look Them Straight In The Eye

At the very least, The Pogues are to be commended for unusual generosity and candour: more than a few of the 111 assorted out-takes, live recordings, collaborations, radio sessions, demos, works-in-progress, floor-sweepings and barrel-scrapings contained on these five discs are less than altogether flattering of their creators. Or, as guitarist Philip Chevron rhetorically admits at the outset of his (very funny) sleevenotes, “So what’s all this then? A bunch of dodgy Pogues tracks that did not merit release at the time they were made? Well, that is inevitably true of some of them. . .” However, it’s just as inevitably true that much of the stuff collected here is utterly magnificent – so much so, indeed, that the moments which might really have been better left in the cupboard radiate, in context, an endearingly fallible humanity. And even the most unrealised, hastily recorded stuff pokes wide holes in the unhelpful (if somewhat self-created) myth of The Pogues as a bunch of incapably sloshed, ragamuffin chancers. The attitude they brought to their take on Irish folk was certainly pure punk, but that didn’t alter the fact that Irish folk is a genre unforgiving of ham-fisted players – and there’s much here to make the case that The Pogues were nobody’s inferiors (two 1991 live recordings of The Pogues sharing a stage with The Chieftains are especial highlights). The three included demos of “Fairytale Of New York”, with then-producer Elvis Costello providing piano on one and bass on another, reveal how a good idea was honed to imperishable greatness, and bespeak a positively sober attention to detail. The only major disappointment of the enterprise is the iffy sound of some of the live tracks, which may not have been recorded with a view to posterity. The excerpts from a rousing 1987 show at Glasgow’s Barrowlands capture something of the glorious swagger of The Pogues at their best – at least when the band can be heard over a typically delirious audience – but the early 90s incarnation of the group featuring the late Joe Strummer on lead vocals deserves a better memorial than the rather muddy cuts dredged up here. Mostly, though, a fabulous trove of feral joys. ANDREW MUELLER PHILIP CHEVRON Q&A What was the thinking behind including those sketches towards “Fairytale Of New York”? “There is always a danger that shedding daylight on something will take away the magic, but I think ‘Fairytale” has been around long enough to take care of itself – there are films and books about it. Plus, some of its history has been rewritten or overlooked – Elvis Costello’s contribution especially I thought was worth drawing attention to.” Was it strange when the “faggot” bit suddenly became controversial last Christmas? “That was so funny. After playing the hell out of it for 20 years, they got qualms. The guy was told not to be such a silly bollix and to get on with his job.” It’s a bit of a subtext to the box set, though – there’s a few radio sessions where you’ve had to tidy the language. “It started out even with band’s name. The first single was released as Pogue Mahone, and producer at BBC Scotland who was hip to the gaelic said they couldn’t play it, and Dave Robinson at Stiff said we’d have to change it. And everyone called us The Pogues anyway. I could understand why they would play ‘Boys From County Hell’, but at that point you have to get creative with the situation you’re in, and Shane’s substitutions have always been brilliant.” How important was it to get the collaborations with Steve Earle and Kirsty MacColl on there? “We enjoyed them when we did them, so it seemed simple enough to license them. Despite the appearance of being falling down Irish guys, we were good enough to be Kirsty or Steve’s backing band, and that’s worth celebrating. We also wanted to acknowledge that some were more successful than others. We regret that the one with Joe didn’t bear more fruit than it did.” And how are you? “Pretty good, thanks for asking. I came through very scary time last year, but I did all the right things, had huge amounts of support from friends and loved ones, and at the moment I’m cancer free, and touching wood.” Interview: Andrew Mueller

At the very least, The Pogues are to be commended for unusual generosity and candour: more than a few of the 111 assorted out-takes, live recordings, collaborations, radio sessions, demos, works-in-progress, floor-sweepings and barrel-scrapings contained on these five discs are less than altogether flattering of their creators. Or, as guitarist Philip Chevron rhetorically admits at the outset of his (very funny) sleevenotes, “So what’s all this then? A bunch of dodgy Pogues tracks that did not merit release at the time they were made? Well, that is inevitably true of some of them. . .”

However, it’s just as inevitably true that much of the stuff collected here is utterly magnificent – so much so, indeed, that the moments which might really have been better left in the cupboard radiate, in context, an endearingly fallible humanity. And even the most unrealised, hastily recorded stuff pokes wide holes in the unhelpful (if somewhat self-created) myth of The Pogues as a bunch of incapably sloshed, ragamuffin chancers. The attitude they brought to their take on Irish folk was certainly pure punk, but that didn’t alter the fact that Irish folk is a genre unforgiving of ham-fisted players – and there’s much here to make the case that The Pogues were nobody’s inferiors (two 1991 live recordings of The Pogues sharing a stage with The Chieftains are especial highlights). The three included demos of “Fairytale Of New York”, with then-producer Elvis Costello providing piano on one and bass on another, reveal how a good idea was honed to imperishable greatness, and bespeak a positively sober attention to detail.

The only major disappointment of the enterprise is the iffy sound of some of the live tracks, which may not have been recorded with a view to posterity. The excerpts from a rousing 1987 show at Glasgow’s Barrowlands capture something of the glorious swagger of The Pogues at their best – at least when the band can be heard over a typically delirious audience – but the early 90s incarnation of the group featuring the late Joe Strummer on lead vocals deserves a better memorial than the rather muddy cuts dredged up here. Mostly, though, a fabulous trove of feral joys.

ANDREW MUELLER

PHILIP CHEVRON Q&A

What was the thinking behind including those sketches towards “Fairytale Of New York”?

“There is always a danger that shedding daylight on something will take away the magic, but I think ‘Fairytale” has been around long enough to take care of itself – there are films and books about it. Plus, some of its history has been rewritten or overlooked – Elvis Costello’s contribution especially I thought was worth drawing attention to.”

Was it strange when the “faggot” bit suddenly became controversial last Christmas?

“That was so funny. After playing the hell out of it for 20 years, they got qualms. The guy was told not to be such a silly bollix and to get on with his job.”

It’s a bit of a subtext to the box set, though – there’s a few radio sessions where you’ve had to tidy the language.

“It started out even with band’s name. The first single was released as Pogue Mahone, and producer at BBC Scotland who was hip to the gaelic said they couldn’t play it, and Dave Robinson at Stiff said we’d have to change it. And everyone called us The Pogues anyway. I could understand why they would play ‘Boys From County Hell’, but at that point you have to get creative with the situation you’re in, and Shane’s substitutions have always been brilliant.”

How important was it to get the collaborations with Steve Earle and Kirsty MacColl on there?

“We enjoyed them when we did them, so it seemed simple enough to license them. Despite the appearance of being falling down Irish guys, we were good enough to be Kirsty or Steve’s backing band, and that’s worth celebrating. We also wanted to acknowledge that some were more successful than others. We regret that the one with Joe didn’t bear more fruit than it did.”

And how are you?

“Pretty good, thanks for asking. I came through very scary time last year, but I did all the right things, had huge amounts of support from friends and loved ones, and at the moment I’m cancer free, and touching wood.”

Interview: Andrew Mueller

Nick Cave And The Bad Seeds – St Luke’s Church, London, May 15, 2008

Michael Bonner
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This gig is being recorded for BBC Four and, as with this kind of thing, there’s something slightly odd about tonight’s proceedings. We’re in the splendid hall of a restored 18th century church, sitting around tables, mindful of the cameras and lengths of cables snaking across the floor, practising clapping for the Assistant Stage Manager. If “live” is a spontaneous celebration of the power of rock’n’roll, then we’re a long way from Kansas, Toto. It is, arguably, a somewhat incongruous environment to see Nick Cave And The Bad Seeds play, anyway. They arrive on stage looking like a bunch of bounty hunters from a Cormac McCarthy novel, dragged out of the desert and smartened up for the night. There is a lot of facial hair on display, some of it – particularly in the case of Cave’s General-Adjutant Warren Ellis – impressively wild and straggly. Quite what the original parishioners of St Luke’s would have made of them is anyone’s guess, but you could safely assume there’d be a stampede for the Holy Water. In fact, despite their rather feral demeanour, there’s something incredibly engaging about the band and Cave particularly, whose patter is more stand-up comic than rock star. After asking the 200-strong audience for requests, someone shouts out for “The Carny”. “No, no,” says Cave, shaking his head. “I mean – sure, I can sing it, but these guys…” his voice tails off and he points behind him, shrugging, as if to say ‘You see what I’m lumbered with..?’ Later, apparently bored with Cave’s windly introduction to a song, Ellis mischievously starts coaxing wails of feedback from his guitar, forcing him to start his intro again, twice. And to the songs themselves? We’re treated to a fantastic, career-spanning set, stretching as far back as 1985’s “Tupelo” and framed by "Dig, Lazarus, Dig!!!” and “More News From Nowhere”, from the new album. It’s a glorious celebration of Cave’s astonishing body of work with the Bad Seeds, of which a sustained level of quality is key. So we get piano ballads – “Into Your Arms”, “The Ship Song” – hellfire hits “Stagger Lee” and “Deanna” as well as “The Mercy Seat”, “Let Love In”, “God Is In The House”, “We Call Upon The Author” and “Red Right Hand”. No fat, in other words. Cave issues only one stage direction all night – he turns to drummer Jim Sclavunos at the start of “Into Your Arms” and says “Fairly brisk”. Such is the rapport between band members. And they do make for a fairly interesting spectacle; whether it be bassist Martyn P Casey, standing motionless on some kind of plinth all night, or Ellis, gleefully going at his large collection of mandocasters (a 5 string guitar which is tuned in 5ths and has the scale of a violin/mandolin, according to Google). During an almighty version of “Stagger Lee” Ellis dispenses with instruments altogether, opting instead to roll around on the floor bashing away at his effects pedals. Cave, dressed in faintly ridiculous purple striped trousers, throws himself around the stage, leaning in to stab at his keyboards, attack his guitar, or serenade a member of the audience. He’s a brilliant showman, of course, and there comes a point where, perhaps, he realizes the inherent ludicrousness of men of a certain age playing rock music, but never baulks from immersing himself totally in the moment. And then, suddenly, they’re gone, the lights are up, no encore. That being, quite emphatically, the end of that. SET LIST: Dig, Lazarus, Dig!!! Red Right Hand Tupelo Midnight Man Let Love In  Deanna God Is In The House Into My Arms Today's Lesson Get Ready For Love Lyre Of Orpheus The Ship Song Moonland The Mercy Seat Call Upon The Author Hard On For Love Stagger Lee More News From Nowhere

This gig is being recorded for BBC Four and, as with this kind of thing, there’s something slightly odd about tonight’s proceedings. We’re in the splendid hall of a restored 18th century church, sitting around tables, mindful of the cameras and lengths of cables snaking across the floor, practising clapping for the Assistant Stage Manager. If “live” is a spontaneous celebration of the power of rock’n’roll, then we’re a long way from Kansas, Toto.

It is, arguably, a somewhat incongruous environment to see Nick Cave And The Bad Seeds play, anyway.

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Raconteurs Cover The Stones At London Show

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Raconteurs Cover The Stones At London Show
The Raconteurs covered part of "Little Red Rooster", the Willie Dixon track made famous by The Rolling Stones in '64, at their first London show in two years last night (May 14). The sold-out Hammersmith Apollo audience also included The Rolling Stones' Mick Jagger and Ronnie Wood while legendary m...

The Raconteurs covered part of “Little Red Rooster”, the Willie Dixon track made famous by The Rolling Stones in ’64, at their first London show in two years last night (May 14).

The sold-out Hammersmith Apollo audience also included The Rolling Stones’ Mick Jagger and Ronnie Wood while legendary musician Robert Wyatt watched from the side of the stage.

The 15-track set showcased their latest album release ‘Consolers Of The Lonely’, but Jack White and co. also threw in some surprise cover versions.

As well as “Little Red Rooster”, they also tackled blues standard “Keep It Clean,” originally recorded by Charley Jordan and Terry Reid‘s “Rich Kid Blues.”

Read Uncut’s full live review of the show by click here now.

The full Raconteurs’ set list was:

1 Consolers Of The Lonely

2 The Switch And The Spur

3 You Don’t Understand Me

4 Top Yourself

5 Old Enough

6 Hold Up

7 Keep It Clean

8 Level

9 Steady, As She Goes

10 Rich Kid Blues

11 Your Blue Veins

Encores:

12 Many Shades Of Black

13 Little Red Rooster

14 Intimate Secretary

15 Salute Your Solution

16 Carolina Drama

Kevin Shields Remasters Loveless

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Kevin Shields Remasters Loveless
Kevin Shields has personally remastered two of My Bloody Valentine's hugely acclaimed albums Isn't Anything and Loveless. Both albums, enhanced with new mixing by Shields will be released through SonyBMG on June 16, just prior to MBV's first live shows in 16 years which begin on June 20 at London's...

Kevin Shields has personally remastered two of My Bloody Valentine‘s hugely acclaimed albums Isn’t Anything and Loveless.

Both albums, enhanced with new mixing by Shields will be released through SonyBMG on June 16, just prior to MBV’s first live shows in 16 years which begin on June 20 at London’s Roundhouse.

A second version of Loveless will also be included with the albums, this one mastered from the original analogue tapes.

Sleeve notes for the Loveless release have been been written by Shields, explaining what he has done to the seminal albums in the re-mastering process.

Both albums will be available as a CD digipack and heavyweight 180gsm vinyl.

There is no further news as to progress on any new My Bloody Valentine material.

As well as performing live at European festivals including Benicassim and Roskilde, MBV will play the following UK dates:

London, The Roundhouse (June 20/21/22/23)

Manchester, Apollo (28/29)

Glasgow, Barrowland (July 2/3)

Meanwhile Kevin Shields and Patti Smith‘s new collaboration The Coral Sea is being released on July 8 through PASK records, click here to read Uncut’s first preview of the record.

The Raconteurs – London Hammersmith Apollo, May 14 2008

John Mulvey
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It begins looking more or less, as Jack White has argued ad nauseam, like a democracy. White, Brendan Benson and Little Jack Lawrence are clustered around Patrick Keeler’s drum riser, smartly waistcoated, backs to the audience, flexing their metaphorical rock muscles. They’re playing the title track from “Consolers Of The Lonely”, and the way the song switches back and forth between White and Benson, the way their vocals are tracked by harmonies from Lawrence and Mark Watrous, the new keyboards and fiddle player, the power-packed tightness of it all is overwhelming. You can read the full review over at my Wild Mercury Sound blog. Thanks.

It begins looking more or less, as Jack White has argued ad nauseam, like a democracy. White, Brendan Benson and Little Jack Lawrence are clustered around Patrick Keeler’s drum riser, smartly waistcoated, backs to the audience, flexing their metaphorical rock muscles. They’re playing the title track from “Consolers Of The Lonely”, and the way the song switches back and forth between White and Benson, the way their vocals are tracked by harmonies from Lawrence and Mark Watrous, the new keyboards and fiddle player, the power-packed tightness of it all is overwhelming.

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The Raconteurs Live In London

John Mulvey
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0

It begins looking more or less, as Jack White has argued ad nauseam, like a democracy. White, Brendan Benson and Little Jack Lawrence are clustered around Patrick Keeler’s drum riser, smartly waistcoated, backs to the audience, flexing their metaphorical rock muscles. They’re playing the title track from “Consolers Of The Lonely”, and the way the song switches back and forth between White and Benson, the way their vocals are tracked by harmonies from Lawrence and Mark Watrous, the new keyboards and fiddle player, the power-packed tightness of it all is overwhelming. As this staggeringly good gig progresses, however, something significant and, perhaps, fairly inevitable seems to happen: The Raconteurs are revealed not just as a genuinely great band, but also, emphatically, Jack’s band. The last time I saw them was their first British gig, I think, just before the release of “Broken Boy Soldiers”. They were excellent, of course, but one of the fascinating things was Jack White’s studied discretion. The grand rock theatrics we’d come to expect from years of White Stripes gigs had been toned right down, the better to emphasise that, here, he was just one of the guys. Not any more. I don’t mean to take anything away from Brendan Benson, who’s definitely in fine form here: his showcases, “The Switch And The Spur” and “Many Shades Of Black”, are quite marvellous, for a start. But even then, I find myself irresistibly drawn to White: at the centre of it all; subtly directing affairs with the odd cursory nod of the head towards Keeler; taking all the solos. I could be getting this wrong, but I seem to remember Benson taking the lead vocal on “Steady, As She Goes” originally. Tonight, it becomes White’s song, with a new edge and anger roughing up the mellifluous powerpop. It’s a transformation in keeping with the shift from “Broken Boy Soldiers” to “Consolers Of The Lonely”, of course, as The Raconteurs have so keenly embraced the possibilities of being a grandiose rock band. Even the racey little punk songs like “Hold Up” and “Salute Your Solution”, so notionally close in spirit to old White Stripes, have a pomp and complexity that could be seen as self-indulgent, but actually comes across as totally bracing. What’s apparent, after the mild controversy around the Raconteurs’ press-spurning release scam, is that the songs on “Consolers Of The Lonely” are among the best that White has been involved in. White’s first lead comes with “You Don’t Understand Me”, a fervid expansion on those wounded, indignant piano ballads he’s been finessing over the years in the company of Meg. This time, though, without the vigorous constrictions of The White Stripes, his penchant for florid melodrama can really flourish. On “Top Yourself” and the final encore, the mighty Dylanish “Carolina Drama”, his acoustic strumming is so intense as to be intimidatory, tracked by Benson’s attentive slide. His solos are brittle and explosive, tapping into the electric blues tradition as much as he’s ever done before: there’s even a suitably priapic version of “Little Red Rooster” in the encores. And then there’s “Your Blue Veins”, the last song of the main set, and one which has grown into the Raconteurs’ own “Dazed And Confused”. I’ve seen countless White Stripes shows in the past seven years or so, but I’ve rarely seen White play a more precise and free, high and wild solo as good as this one. His takeover of The Raconteurs, at least in terms of taking the spotlight, is now necessary and complete. On the way out, I hear two guys talking about the show, and one of them saying, in the least hyperbolic terms imaginable, how no-one has played guitar like that since Hendrix. It’s a big claim, and one which I imagine Jimmy Page might have issues with, for a start. But then I can’t remember, in just over two decades of going to gigs, any guitarist I’ve seen regularly who has taken the rudiments of blues playing (I’m excluding people like Thurston Moore and Kevin Shields here; “The Coral Sea” has finally arrived and is playing incongruously as I write, incidentally. More about that next week) and refreshed it so utterly, made the great tradition seem so exhilarating. Anyone else there?

It begins looking more or less, as Jack White has argued ad nauseam, like a democracy. White, Brendan Benson and Little Jack Lawrence are clustered around Patrick Keeler’s drum riser, smartly waistcoated, backs to the audience, flexing their metaphorical rock muscles. They’re playing the title track from “Consolers Of The Lonely”, and the way the song switches back and forth between White and Benson, the way their vocals are tracked by harmonies from Lawrence and Mark Watrous, the new keyboards and fiddle player, the power-packed tightness of it all is overwhelming.

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The 20th Uncut Playlist Of 2008

John Mulvey
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0

Some interesting correspondence on the blog over the past week or so, not least on the subject of Brian Eno, after I posed a mildly provocative question about his recent work here. John The Baptist’s response was valuable, not least because the list of Roxy, Cluster and Talking Heads rather confirmed my prejudices. I must admit I haven’t been taken with the last few Eno solo albums, though I certainly shouldn’t have overlooked the collaborations with Robert Wyatt. But what intrigues me about him is how most of his production work since, well, Talking Heads as far as I can remember, tends towards stadium rock; U2, James and now Coldplay. Perhaps he finds it amusing to sneak experimental creative strategies into the making of massive albums, or perhaps he just genuinely enjoys these kinds of bands (not least when their aesthetic sensibilities are so evidently flattered by having Eno in the control room). But it’s strange for someone so legendarily forward-thinking that he hasn’t got involved with any – or at least none I can think of right now – new leftfield artists for maybe two decades. Thanks, too, to Askil for drawing attention to the Three Lobed Recordings series involving Howlin Rain, which looks excellent. I haven’t, I’m afraid, found out what Thrill Jockey have planned with the Boredoms in the future, Kris. Must check that out. Anyway, before I head off to see The Raconteurs tonight (review tomorrow morning, with a decent prevailing wind), here’s our playlist for the last couple of days. I’ll write sometime about the new Will Oldham thing next week, all being well. 1 Wooden Shjips – Vol. 1 (Holy Mountain) 2 Bonnie “Prince” Billy – Lie Down In The Light (Domino) 3 Vanilla Fudge – Vanilla Fudge (Edsel) 4 The Cure – The Only One (Mix 13) (Geffen) 5 The Week That Was – A Field Music Production (Memphis Industries) 6 The Heads – Dead In The Water (Rooster) 7 Droids – Star Peace (Repressed) 8 Barringtone – Snake In The Grass (This Is Music) 9 Health – Disco (Lovepump United) 10 The Hold Steady – Stay Positive (Rough Trade) 11 Carl Wilson – Carl Wilson (Caribou) 12 Stefan Grossman – The Ragtime Cowboy Jew (Transatlantic) 13 Ida Maria – Fortress Round My Heart (Waterfall/RCA) 14 King Darves – The Sun Splits For. . . The Blind Swimmer (De Stijl) 15 Howlin Rain – Wild Life (Three Lobed)

Some interesting correspondence on the blog over the past week or so, not least on the subject of Brian Eno, after I posed a mildly provocative question about his recent work here.

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Dylan To Perform At World Expo

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Dylan To Perform At World Expo
Bob Dylan has today (May 14) been confirmed by organisers of this year's World Expo in Spain, to perform at the event on June 23. As previously reported on Uncut.co.uk, Bob Dylan had recorded a new version of his classic track "A Hard Rain's A-Gonna Fall" for use on adverts promoting the 2008 World...

Bob Dylan has today (May 14) been confirmed by organisers of this year’s World Expo in Spain, to perform at the event on June 23.

As previously reported on Uncut.co.uk, Bob Dylan had recorded a new version of his classic track “A Hard Rain’s A-Gonna Fall” for use on adverts promoting the 2008 World Expo, and now the folk icon is set to perform it in person.

A local band Amaral have also recorded a Spanish version of the song.

The world fair in Spain’s northeastern city of Zaragoza has a theme of ‘water’ this year and the song includes the singer’s spoken comments on the importance of clean water across the world.

Iggy Pop, Alanis Morissette and Spanish opera singer Montserrat Caballe are some of the other artists set to perform at the Expo.

The World Expo runs from June 14 to September 14.

Mark Lanegan and Greg Dulli Return To Tour UK

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Mark Lanegan and Greg Dulli Return To Tour UK

Sub Pop veterans Mark Lanegan and former Afghan Whig Greg Dulli have announced that they will play a further six UK shows this August after a handful of acclaimed British shows back in Februray. The pair together, as The Gutter Twins, have recently recorded and released the Uncut four-star rated album 'Saturnalia' to mark Sub Pop's 20th anniversary, and the pair are also due to play the record label's birthday party in Seattle on July 12. Sub Pop will release a new Gutter Twins single "God's Children" on August 11 to coincide with the short tour. Busy man, Lanegan, is also on the road in the UK with Isobel Campbell this June, showcasing their second album collaboration 'Sunday At Devil Dirt. Click here for those dates. Lanegan and Dulli will play the following venues: Oxford, Zodiac (August 11) Nottingham, Rescue Rooms (12) London, Shepherds Bush Empire (13) Brighton, Komedia (26) Sheffield, Leadmill (27) Liverpool, Academy 2 (30) www.myspace.com/theguttertwins

Sub Pop veterans Mark Lanegan and former Afghan Whig Greg Dulli have announced that they will play a further six UK shows this August after a handful of acclaimed British shows back in Februray.

The pair together, as The Gutter Twins, have recently recorded and released the Uncut four-star rated album ‘Saturnalia’ to mark Sub Pop’s 20th anniversary, and the pair are also due to play the record label’s birthday party in Seattle on July 12.

Sub Pop will release a new Gutter Twins single “God’s Children” on August 11 to coincide with the short tour.

Busy man, Lanegan, is also on the road in the UK with Isobel Campbell this June, showcasing their second album collaboration ‘Sunday At Devil Dirt. Click here for those dates.

Lanegan and Dulli will play the following venues:

Oxford, Zodiac (August 11)

Nottingham, Rescue Rooms (12)

London, Shepherds Bush Empire (13)

Brighton, Komedia (26)

Sheffield, Leadmill (27)

Liverpool, Academy 2 (30)

www.myspace.com/theguttertwins

Genesis To Launch New Live DVD In London

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Genesis To Launch New Live DVD In London
Genesis are to attend the premiere of their new live concert and documentary DVD 'When In Rome 2007' at Kensington's Odeon cinema next week (May 20). The band will also take part in a live broadcast Q&A session after the screening, hosted by Life On Mars and Ashes to Ashes TV actor Philip Gleni...

Genesis are to attend the premiere of their new live concert and documentary DVD ‘When In Rome 2007’ at Kensington’s Odeon cinema next week (May 20).

The band will also take part in a live broadcast Q&A session after the screening, hosted by Life On Mars and Ashes to Ashes TV actor Philip Glenister.

The special HD cinematic version of the ‘Come Rain Or Shine’ documentary from the forthcoming triple DVD, as well as the band’s Q&A will simultaneously screen at 20 other Odeon cinemas across the UK.

Phil Collins, Tony Banks and Mike Rutherford reformed Genesis and embarked on the ‘Turn It On Again Tour’, going on the road for the first time in 15 years last year.

The 5 1/2 hours of footage follows the tour right up to playing in front of 500,000 fans at Rome’s Circo Massimo in July.

The Q&A session at the Kensington premiere will give fans in the audience the chance to ask questions, while fans from across the UK are asked to sumit questions in advance via www.genesis-music.com.

The unique Genesis event will take place at the following locations on Tuesday May 20. The film screens from 7pm.

For tickets and further information go to odeon.co.uk or call the filmline on 0871 22 44 007.

Basingstoke

Bath

Birmingham

Blackpool

Braehead (Glasgow)

Cardiff

Chelmsford

Greenwich

Guildford

Lincoln

Kingston-upon-Thames

Liverpool

London, Covent Garden

London, Kensington (Premiere location)

Maidenhead

Manchester

Norwich

Sheffield

Southampton

Tunbridge Wells

Wimbledon

The ‘When In Rome 2007’ DVD is released by EMI Records on may 26.

www.wheninromedvd.com

Explosions In The Sky All Tomorrow’s Parties Kicks Off This Friday

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Explosions In The Sky All Tomorrow’s Parties Kicks Off This Friday

The Explosions In The Sky curated All Tomorrow's Parties event is set to kick off this Friday (May 16) and we have a full list of the acts and stage times for you. The three day event is the second ATP weekend at Butlins in Minehead. Last weekend saw the likes of The Hold Steady, Hot Chip and Howlin' Rain all perform. This weekend's strong line-up will see the Texan instrumentalists EITS perform, as well as Silver Jews, Dinosaur Jr, Four Tet, Animal Collective, Raekwon and Ghostface Killah all take to the stage. More details about the ATP evenet are available from www.atpfestival.com. Full stage times are as follows: *Friday May 16: PAVILION STAGE Explosions In The Sky - 8.45 - 10pm Sunset Rubdown - 7.00 - 8.15pm Papier Tigre - 5.45 - 6.45pm CENTRE STAGE Four Tet - 1.30 - 2.30am The Paper Chase - 12 - 1am Ola Podrida - 10.30 - 11.30pm Dinosaur Jr - 7.15 - 8.30pm Mono - 6.00 - 6.45pm Constantines - 4.45 - 5.30pm REDS Pale Gallery - 12.30 - 1.15am Phosphorescent - 11.15 - 12pm The Octopus Project - 10 - 10.45pm *Saturday May 17: PAVILION The National - 8.30 - 10pm Iron And Wine - 6.45 - 8pm Okkervil River - 5.15 - 6.15pm A Hawk And a Hacksaw - 3.45 - 4.45pm CENTRE STAGE Battles 1.45 - 3am Stars Of The Lid - 12am - 1am Adem - 10.30 - 11.30pm Dinosaur Jr - 8.30 - 10.00pm Trail Of Dead - 6.45 - 8.00pm Ghostface Killah - 5.15 - 6.15pm Saul Williams 4 - 4.45pm Worlds End Girlfriend - 2.45 - 3.30pm REDS Lazarus - 12.30 - 1.30am Western Keys - 11.15 - 12.00am Eluvium - 10 - 10.45pm *Sunday May 18: PAVILION Broken Social Scene - 8.30 - 10pm De La Soul - 7 - 8pm Silver Jews - 5.30 - 6.30pm Beach House - 4 - 5pm Jens Lekman 2.30 – 3.30pm CENTRE STAGE The Field 1.30 - 2.30am Battles – 11.45 - 1am Lichens - 10.30 - 11.15pm Raekwon featuring Ghostface Killah - 8.30 - 10pm Animal Collective - 7 - 8pm Atlas Sound 5.30 - 6.30pm Polvo - 4 - 5pm REDS Envy - 12.30 - 1.30am Tony Teardrop - 11.15 - 12am The Drift - 10 - 10.45pm Pic credit: Neil Thomson

The Explosions In The Sky curated All Tomorrow’s Parties event is set to kick off this Friday (May 16) and we have a full list of the acts and stage times for you.

The three day event is the second ATP weekend at Butlins in Minehead. Last weekend saw the likes of The Hold Steady, Hot Chip and Howlin’ Rain all perform.

This weekend’s strong line-up will see the Texan instrumentalists EITS perform, as well as Silver Jews, Dinosaur Jr, Four Tet, Animal Collective, Raekwon and Ghostface Killah all take to the stage.

More details about the ATP evenet are available from www.atpfestival.com.

Full stage times are as follows:

*Friday May 16:

PAVILION STAGE

Explosions In The Sky – 8.45 – 10pm

Sunset Rubdown – 7.00 – 8.15pm

Papier Tigre – 5.45 – 6.45pm

CENTRE STAGE

Four Tet – 1.30 – 2.30am

The Paper Chase – 12 – 1am

Ola Podrida – 10.30 – 11.30pm

Dinosaur Jr – 7.15 – 8.30pm

Mono – 6.00 – 6.45pm

Constantines – 4.45 – 5.30pm

REDS

Pale Gallery – 12.30 – 1.15am

Phosphorescent – 11.15 – 12pm

The Octopus Project – 10 – 10.45pm

*Saturday May 17:

PAVILION

The National – 8.30 – 10pm

Iron And Wine – 6.45 – 8pm

Okkervil River – 5.15 – 6.15pm

A Hawk And a Hacksaw – 3.45 – 4.45pm

CENTRE STAGE

Battles 1.45 – 3am

Stars Of The Lid – 12am – 1am

Adem – 10.30 – 11.30pm

Dinosaur Jr – 8.30 – 10.00pm

Trail Of Dead – 6.45 – 8.00pm

Ghostface Killah – 5.15 – 6.15pm

Saul Williams 4 – 4.45pm

Worlds End Girlfriend – 2.45 – 3.30pm

REDS

Lazarus – 12.30 – 1.30am

Western Keys – 11.15 – 12.00am

Eluvium – 10 – 10.45pm

*Sunday May 18:

PAVILION

Broken Social Scene – 8.30 – 10pm

De La Soul – 7 – 8pm

Silver Jews – 5.30 – 6.30pm

Beach House – 4 – 5pm

Jens Lekman 2.30 – 3.30pm

CENTRE STAGE

The Field 1.30 – 2.30am

Battles – 11.45 – 1am

Lichens – 10.30 – 11.15pm

Raekwon featuring Ghostface Killah – 8.30 – 10pm

Animal Collective – 7 – 8pm

Atlas Sound 5.30 – 6.30pm

Polvo – 4 – 5pm

REDS

Envy – 12.30 – 1.30am

Tony Teardrop – 11.15 – 12am

The Drift – 10 – 10.45pm

Pic credit: Neil Thomson

Robert Downey Jr Speaks About New Flick Charlie Bartlett

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Robert Downey Jr Speaks About New Flick Charlie Bartlett
Charlie Bartlett opens in UK cinemas next week (May 23), and the film's star Robert Downey Jr has spoken out about his role as Principal Gardiner, in the film that has been compared to classic school-based John Hughes' movies such as Ferris Bueller's Day Off. Check out the trailer for Charlie Bartl...

Charlie Bartlett opens in UK cinemas next week (May 23), and the film’s star Robert Downey Jr has spoken out about his role as Principal Gardiner, in the film that has been compared to classic school-based John Hughes’ movies such as Ferris Bueller’s Day Off.

Check out the trailer for Charlie Bartlett and see what Downey Jr has to say below…

Click on the links here for the film trailer.

Quicktime: Lo / Hi

Realplayer: Lo / Hi

Windows Media Player: Hi / Lo

ROBERT DOWNEY JUNIOR

What do you think of Charlie as a character?

I think he plays an important role. He offers therapy to the students, who obviously don’t have much of a voice. He offers a friendly ear. If you think about it, some of the great characters in the history of film are the ones that had their asses kicked so hard during the movie, but they’d keep swinging. Charlie is up there with them because he shares this eternal optimism. He’s not trying to be anything he isn’t, but has a lot of facets to his personality. He’s a little messed up, which is endearing. Furthermore he’s got a good heart, his heart is definitely in the right place.

How does his story play out?

Ultimately, what redeems Charlie is that he’s a very teachable human being. I think left to his own devices he’ll always make the right decision. Charlie goes on a quest, and there is this kind of hero’s journey. By the end he knows what is right and he intends to do it.

And how do you fit in?

Charlie has an adversarial relationship with the principal of the school, played by me. My character senses there is something special about this kid, but decides that he is also troublesome when his very own daughter takes a shine to him. Thus this chess match ensues between the establishment and the boy.

Was it difficult for you to play such an establishment character?

It was easy. The truth is, lately anyway, I’m a big old square. I’m grounded and focused, and a little bit up tight. I’m a perfectionist. I live to be married, be a parent and do movies.

So the movie is an inter-generational battle then?

It’s a bit of a rights of passage movie in the strangest sense of the word I think. There is this great coming together of principal and student, culminating in the truth finally coming from my character’s heart. It wasn’t easy for Gardner to get there, but he realises by the end that he could trust the guy, and they become allies. It’s this amazing intergenerational thing that really speaks to the truth of where we’re shooting and missing with our kids, and where we should be quick to see how this generation is right. The move speaks to several generations and I think that both sides of the coin are given equal weight

Do you think of yourself as a method actor?

You’re supposed to have an aesthetic distance between you and your character. When it’s done you’re supposed to be able to detach. That can be become an issue when there’s too much happening outside. But the job’s the job. You can’t have a contractor thinking back to the last house he built.

How do you feel to Charlie Bartlett being compared to John Hughes movies?

There was a kind of simple understanding of who John was making the movies for. The people Hughes was making the films for are our age now. The audience that Jon and Anton are addressing, although it includes us and we’re given a voice, is today’s generation. I think that’s best. Teen films are often conceived and written and imposed by people that don’t really understand the generation they are trying to approach. That didn’t happen here.

What would you say to people about the film?

Will you just see Charlie Bartlett! We can only give so much! We did our part you sons of bitches. Just do it … or I’ll come at you like a wombat!

The Blue Nile To Headline Somerset House

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The Blue Nile To Headline Somerset House

Legendary Glaswegian synth-pop band The Blue Nile have been announced as one of the headline acts for this year's Summer Series at London's Somerset House. Led by Paul Buchanan who is currently collaborating with Garbage's Shirley Manson on her upcoming solo album, the band's career has spanned over twenty years, with their last live UK shows taking place back in 2006. Information is not available as yet if founding member, keyboardist Paul Joseph Moore will be joining Buchanan and bassist Robert Bell. Moore hasn't appeared onstage with The Blue Nile on previous more recent tours. The Summer Series open-air concerts will take place this year from 10 to 19 July and feature a diverse range of acts starting with The Fratellis and closing with this year's Brit Awards Critics' Choice winner Adele. The series of concerts will also see dance acts UNKLE and Justice alongside bands such as The Zutons and We Are Scientists. Full details of artists and dates are below. Support acts to the line-up will be announced in due course. Tickets for all shows go on sale tomorrow (May 14) at 9am. All tickets are £25 and will be available online at the venue's website: www.somersethouse.org.uk The full list of Summer Series headliners are: The Fratellis (July 10) Justice (11) UNKLE (12) The Blue Nile (13) Lupe Fiasco (14) We Are Scientists (15) The Zutons (16) The Feeling (17) Duffy (18) Adele (19)

Legendary Glaswegian synth-pop band The Blue Nile have been announced as one of the headline acts for this year’s Summer Series at London’s Somerset House.

Led by Paul Buchanan who is currently collaborating with Garbage’s Shirley Manson on her upcoming solo album, the band’s career has spanned over twenty years, with their last live UK shows taking place back in 2006.

Information is not available as yet if founding member, keyboardist Paul Joseph Moore will be joining Buchanan and bassist Robert Bell. Moore hasn’t appeared onstage with The Blue Nile on previous more recent tours.

The Summer Series open-air concerts will take place this year from 10 to 19 July and feature a diverse range of acts starting with The Fratellis and closing with this year’s Brit Awards Critics’ Choice winner Adele.

The series of concerts will also see dance acts UNKLE and Justice alongside bands such as The Zutons and We Are Scientists.

Full details of artists and dates are below.

Support acts to the line-up will be announced in due course.

Tickets for all shows go on sale tomorrow (May 14) at 9am.

All tickets are £25 and will be available online at the venue’s website:

www.somersethouse.org.uk

The full list of Summer Series headliners are:

The Fratellis (July 10)

Justice (11)

UNKLE (12)

The Blue Nile (13)

Lupe Fiasco (14)

We Are Scientists (15)

The Zutons (16)

The Feeling (17)

Duffy (18)

Adele (19)

Coldplay Announce Another UK Live Show

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Coldplay Announce Another UK Live Show
Coldplay have announced a third UK live show for 2008, and will now headline Liverpool's Echo Arena on December 10. The newly announced Liverpool show will occur as city's European Capital Of Culture year-long celebrations come to a close. Ticket details are yet to be announced. A full European to...

Coldplay have announced a third UK live show for 2008, and will now headline Liverpool’s Echo Arena on December 10.

The newly announced Liverpool show will occur as city’s European Capital Of Culture year-long celebrations come to a close. Ticket details are yet to be announced.

A full European tour is expected to be revealed soon.

The new date comes on the back of the announcement that the band will play two free shows this June, to showcase their new album ‘Viva La Vida and Death to all his Friends’, with the free tickets for those to be decided by ballot.

To register for tickets, simply head to the band’s official website coldplay.com now.

The band are also giving away one prize for their New York show of an all-expenses paid trip to the gig from anywhere in the world including tickets, flights and accommodation.

The results of both the London and New York gig ballots will be announced on June 5.

Meanwhile, Coldplay have made a second new track available as a free download via their band website coldplay.com.

The track “A Spell A Rebel Yell” will not feature on the band’s follow-up to 2005’s X&Y, Viva La Vida or Death And All His Friends which is due out on June 12.

The band recently made their comeback single “Violet Hill” available as free download for one week only, and figues have exceeded two million.

The new downloadable song, “A Spell A Rebel Yell” also features on an exclusive seven-inch vinyl single that you can only get with this week’s issue (dated May 10) of NME.

Stereophonics To Play Free Welsh Celebration Gig

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Stereophonics To Play Free Welsh Celebration Gig

The Stereophonics are to perform at a free concert at the Cardiff Millennium Stadium on Bank Holiday Weekend, to help celebrate Wales' Rugby success at the 2008 Grand Slam. Other Welsh artists including Feeder, last year's X Factor runner-up Rhydian Roberts as well as former M People singer Heather Small will also appear at the event alongside the national Welsh Rugby team led by Captain Ryan Jones. The concert will take place on Bank Holiday Monday, May 26, with free tickets being distributed via local rugby clubs across Wales from this Friday (May 16). WRU chief executive Roger Lewis said in a statement today: "This is the opportunity for the supporters to salute the players and coached who delivered so many victories for Wales this past season. "We were determined that entry would be free because we want as many people as possible to show their appreciation and we would particularly like to thank each of the many high profile music and entertainment acts that have already shown their support." When Wales last won the Grand Slam event in 2005, 20,000 fans were joined by the team and the Prince Charles for a similar party.

The Stereophonics are to perform at a free concert at the Cardiff Millennium Stadium on Bank Holiday Weekend, to help celebrate Wales’ Rugby success at the 2008 Grand Slam.

Other Welsh artists including Feeder, last year’s X Factor runner-up Rhydian Roberts as well as former M People singer Heather Small will also appear at the event alongside the national Welsh Rugby team led by Captain Ryan Jones.

The concert will take place on Bank Holiday Monday, May 26, with free tickets being distributed via local rugby clubs across Wales from this Friday (May 16).

WRU chief executive Roger Lewis said in a statement today: “This is the opportunity for the supporters to salute the players and coached who delivered so many victories for Wales this past season.

“We were determined that entry would be free because we want as many people as possible to show their appreciation and we would particularly like to thank each of the many high profile music and entertainment acts that have already shown their support.”

When Wales last won the Grand Slam event in 2005, 20,000 fans were joined by the team and the Prince Charles for a similar party.

Win! Tickets To See Lou Reed Take On Berlin!

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Win! Tickets To See Lou Reed Take On Berlin!

As previously reported here on www.uncut.co.uk, Lou Reed is bringing his Berlin tour back to Europe for a further twenty shows next month. As part of his AEG promoted European tour, Reed will be performing the controversial 1973 album in its entirety at three venues in the UK, the Edinburgh Playhouse on June 25, Nottingham Opera House on June 26 and London's Royal Albert Hall on June 30. As with the two UK shows last year, he will again be performing with a 30-piece ensemble, including his regular touring band, a string and horn section and a children's choir. Uncut has three pairs of tickets for Reed's Nottingham Opera House on June 26 and three pairs for the London Royal Albert Hall show to giveaway. To be in with a chance of winning, simply log in and answer the simple question by clicking here. This competition closes on Friday June 20. Please supply your daytime phone/ email contact details and specify whether you would like to attend the Nottingham or London dates. Booking info for the shows from: 0871 230 0333 The full Berlin 2008 European dates are: Cork Marquee (June 23) Belfast Waterfront (24) Edinburgh Playhouse (25) Nottingham Royal Centre (26) Paris Salle Pleyel (28) London Royal Albert Hall (30) Munich Philharmonie (July 3) Hamburg CCH - Congress Centrum (6) Copenhagen Opera House (7) Stockholm Annexet (9) Tallin Saku Arena (Estonia) (11) Latvia Riga Arena (12) Warsaw Towar (14) Brussels Bozar (16) Lisbon Campo Pequeno (19) Loule Moinumento Dujarte Pacheco (20) Malaga Terral Festival (21) Madrid Conde Duque (22) Girona Portaferrada Festival (25) Benidorm Bullring (26)

As previously reported here on www.uncut.co.uk, Lou Reed is bringing his Berlin tour back to Europe for a further twenty shows next month.

As part of his AEG promoted European tour, Reed will be performing the controversial 1973 album in its entirety at three venues in the UK, the Edinburgh Playhouse on June 25, Nottingham Opera House on June 26 and London’s Royal Albert Hall on June 30.

As with the two UK shows last year, he will again be performing with a 30-piece ensemble, including his regular touring band, a string and horn section and a children’s choir.

Uncut has three pairs of tickets for Reed’s Nottingham Opera House on June 26 and three pairs for the London Royal Albert Hall show to giveaway.

To be in with a chance of winning, simply log in and answer the simple question by clicking here.

This competition closes on Friday June 20. Please supply your daytime phone/ email contact details and specify whether you would like to attend the Nottingham or London dates.

Booking info for the shows from: 0871 230 0333

The full Berlin 2008 European dates are:

Cork Marquee (June 23)

Belfast Waterfront (24)

Edinburgh Playhouse (25)

Nottingham Royal Centre (26)

Paris Salle Pleyel (28)

London Royal Albert Hall (30)

Munich Philharmonie (July 3)

Hamburg CCH – Congress Centrum (6)

Copenhagen Opera House (7)

Stockholm Annexet (9)

Tallin Saku Arena (Estonia) (11)

Latvia Riga Arena (12)

Warsaw Towar (14)

Brussels Bozar (16)

Lisbon Campo Pequeno (19)

Loule Moinumento Dujarte Pacheco (20)

Malaga Terral Festival (21)

Madrid Conde Duque (22)

Girona Portaferrada Festival (25)

Benidorm Bullring (26)

Beth Orton, Deus and Guillemots For Latitude!

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Beth Orton, Deus and Guillemots For Latitude!

BRIT Award-winning singer/songwriter Beth Orton is amongst the latest additions, announced today (May 13), for this year's Latitude festival in Suffolk this July. She is currently working on an as-yet-untitled new studio album, the follow-up to 2006's 'Comfort Of Strangers', and will appear on Latitude's main stage, the Obelisk Arena. Also announced today for the main stage are Belgian rockers Deus who have just released an acclaimed new studio album 'Vantage Point', one of their new tracks featuring fellow Latitude main stage performer Guy Garvey from Elbow. Former Beta Band members' new project Aliens, I Am Kloot and Grammatics are also set to share the stage that will be headlined by Franz Ferdinand, Sigur Ros and Interpol. New additions for the Uncut Arena are self-styled power-poppers the Guillemots, Black Kids and Magistrates. Previously confirmed for the Uncut stage are such great acts as Amadou and Mariam, the Mars Volta, the Tindersticks, Julian Cope, Blondie and M.I.A. New artists confirmed for the Sunrise Arena include Wallis Bird and Metronomy. Check out the dedicated Uncut Latitude blog for details of artists, performers, poets, authors and plays that have so far been confirmed for the all encompassing arts and music three day festival. Click here for our dedicated Latitude blog for all your festival updates! Latitude takes place at Henham Park, Southwold, Sufflolk between July 17 and 20. Tickets are selling fast, priced £130 for the weekend, or £55 for day tickets, all of which are available from the credit card hotline - 0871 231 0821. Or online at www.seetickets.com, www.festivalrepublic.com and at www.latitudefestival.co.uk. Keep your browsers pointed at www.uncut.co.uk – we’ll announce new additions there the minute we hear of them.

BRIT Award-winning singer/songwriter Beth Orton is amongst the latest additions, announced today (May 13), for this year’s Latitude festival in Suffolk this July.

She is currently working on an as-yet-untitled new studio album, the follow-up to 2006’s ‘Comfort Of Strangers’, and will appear on Latitude’s main stage, the Obelisk Arena.

Also announced today for the main stage are Belgian rockers Deus who have just released an acclaimed new studio album ‘Vantage Point’, one of their new tracks featuring fellow Latitude main stage performer Guy Garvey from Elbow.

Former Beta Band members’ new project Aliens, I Am Kloot and Grammatics are also set to share the stage that will be headlined by Franz Ferdinand, Sigur Ros and Interpol.

New additions for the Uncut Arena are self-styled power-poppers the Guillemots, Black Kids and Magistrates.

Previously confirmed for the Uncut stage are such great acts as Amadou and Mariam, the Mars Volta, the Tindersticks, Julian Cope, Blondie and M.I.A.

New artists confirmed for the Sunrise Arena include Wallis Bird and Metronomy.

Check out the dedicated Uncut Latitude blog for details of artists, performers, poets, authors and plays that have so far been confirmed for the all encompassing arts and music three day festival.

Click here for our dedicated Latitude blog for all your festival updates!

Latitude takes place at Henham Park, Southwold, Sufflolk between July 17 and 20.

Tickets are selling fast, priced £130 for the weekend, or £55 for day tickets, all of which are available from the credit card hotline – 0871 231 0821. Or online at www.seetickets.com, www.festivalrepublic.com and at www.latitudefestival.co.uk.

Keep your browsers pointed at www.uncut.co.uk – we’ll announce new additions there the minute we hear of them.

Yeasayer, Bon Iver and No Age Set For Great Escape

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Yeasayer, Bon Iver and No Age Set For Great Escape

This year's Great Escape festival, featuring 200 bands and artists playing across 30 venues over three days is set to kick off this week on Thursday (May 15) and Uncut will be hosting gigs on all three nights - here are some details... The first Uncut night at the Great Escape Festival is headlined by feisty shoegaze-punks from LA, No Age at the Pressure Point on May 15, with support coming from Wild Beasts, a charming Associates-meets-Orange Juice hybrid from the Lakes and Eau Claire, Wisconsin’s Bon Iver. Bon Iver’s “For Emma, Forever Ago” is our Album Of The Month, and you can read the full story behind this amazing record by clicking here. Friday night (May 16), sees the superb Yeasayer headline, again at the Pressure Point, possibly our favourite of the new Brooklyn bands. Support will come from Broken Records, currently known in excited music business circles as “the Scottish Arcade Fire”. Finally, May 17 brings the wonderful Rachel Unthank & The Winterset, our favourite British folk band in an age, plus Cerys Matthews’ chum from Nashville, Dawn Kinnard and a special guest. Saturday night's show is taking place at the Spiegeltent venue. Quite a bill, we think. Tickets are still available, you’ll be relieved to hear, from www.escapegreat.com or by phoning 0870 907 0999. Other acts playing this year's Great Escape include Vampire Weekend, Santogold, The Fratellis and The Go! Team. If you're coming down to the coast, we'll see you on the pier for the Ghost Ride and some doughnuts. www.uncut.co.uk will be reporting live from the three day event, so check back to see what's been occurring in East Sussex.

This year’s Great Escape festival, featuring 200 bands and artists playing across 30 venues over three days is set to kick off this week on Thursday (May 15) and Uncut will be hosting gigs on all three nights – here are some details…

The first Uncut night at the Great Escape Festival is headlined by feisty shoegaze-punks from LA, No Age at the Pressure Point on May 15, with support coming from Wild Beasts, a charming Associates-meets-Orange Juice hybrid from the Lakes and Eau Claire, Wisconsin’s Bon Iver. Bon Iver’s “For Emma, Forever Ago” is our Album Of The Month, and you can read the full story behind this amazing record by clicking here.

Friday night (May 16), sees the superb Yeasayer headline, again at the Pressure Point, possibly our favourite of the new Brooklyn bands. Support will come from Broken Records, currently known in excited music business circles as “the Scottish Arcade Fire”.

Finally, May 17 brings the wonderful Rachel Unthank & The Winterset, our favourite British folk band in an age, plus Cerys Matthews’ chum from Nashville, Dawn Kinnard and a special guest. Saturday night’s show is taking place at the Spiegeltent venue.

Quite a bill, we think. Tickets are still available, you’ll be relieved to hear, from www.escapegreat.com or by phoning 0870 907 0999.

Other acts playing this year’s Great Escape include Vampire Weekend, Santogold, The Fratellis and The Go! Team.

If you’re coming down to the coast, we’ll see you on the pier for the Ghost Ride and some doughnuts.

www.uncut.co.uk will be reporting live from the three day event, so check back to see what’s been occurring in East Sussex.

Howlin Rain and Wooden Shjips – London Scala, May 12 2008

John Mulvey
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I suspect I’ve banged on about Howlin Rain so often now that my admiration for the band is reaching mildly stalkerish levels. Last night’s show at the Scala, though, was a big leap on from this one that I frothed over a few months ago. Head over to Wild Mercury Sound to read the rest of this one. . .

I suspect I’ve banged on about Howlin Rain so often now that my admiration for the band is reaching mildly stalkerish levels. Last night’s show at the Scala, though, was a big leap on from this one that I frothed over a few months ago.

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