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Ray Davies – Working Man’s Café

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Ray Davies – Working Man’s Café

You only have to listen to “Waterloo Sunset” to realise that Ray Davies has always had a tendency to wrap his disillusionment in the flag of nostalgia. He hankers for the past on this new album too, but with a brusqueness which would have embarrassed his younger self – before finally dragging himself back towards something approaching contentment. 'Working Man's Café' captures Davies's revulsion with Blair's Britain, his relocation to New Orleans, and the reflections on mortality which followed his shooting in the Crescent City (after chasing a mugger). Some of the material is mined directly from his experience. “Morphine Song” is a soap opera observed from his hospital bed, held together by a chorus of “listen to my heartbeat”, while the anthemic “Peace in Our Time” has him pining for peace of mind in a troubled world. Musically, the transatlantic travel hasn’t been entirely beneficial. There are times when the playing of the session band is slick to the point of blandness, and the production (by Davies and Ray Kennedy) is crisply tasteful when the songs cry out for dissonance. Given the obvious influence of Davies on Pete Doherty, it’s tempting, in the more placid passages, to imagine what Mick Jones might have done with these songs. And it’s alarming, on the Victor Meldrewish “In A Moment”, to realise that Davies - that scion of Englishness - is singing in an American accent. But when it works, it works. The beautifully sung closer, “The Real World”, isn’t strictly autobiographical, but it does explore the wanderlust which took Davies to Louisiana, before concluding that travel doesn’t necessarily cure a lost soul. Best of all is the pensive title track, with an Estuary-accented Davies complaining about the creeping Americanisation of England, loans, equity relief, mortgages and internet cafes, before locating his identity in a working man’s café. “In case you forgot who I am,” he sings, “I’m a kid with a greasy spoon firmly held in my hand.” Welcome home, Ray. ALASTAIR McKAY

You only have to listen to “Waterloo Sunset” to realise that Ray Davies has always had a tendency to wrap his disillusionment in the flag of nostalgia. He hankers for the past on this new album too, but with a brusqueness which would have embarrassed his younger self – before finally dragging himself back towards something approaching contentment.

‘Working Man’s Café’ captures Davies’s revulsion with Blair’s Britain, his relocation to New Orleans, and the reflections on mortality which followed his shooting in the Crescent City (after chasing a mugger). Some of the material is mined directly from his experience. “Morphine Song” is a soap opera observed from his hospital bed, held together by a chorus of “listen to my heartbeat”, while the anthemic “Peace in Our Time” has him pining for peace of mind in a troubled world.

Musically, the transatlantic travel hasn’t been entirely beneficial. There are times when the playing of the session band is slick to the point of blandness, and the production (by Davies and Ray Kennedy) is crisply tasteful when the songs cry out for dissonance. Given the obvious influence of Davies on Pete Doherty, it’s tempting, in the more placid passages, to imagine what Mick Jones might have done with these songs. And it’s alarming, on the Victor Meldrewish “In A Moment”, to realise that Davies – that scion of Englishness – is singing in an American accent.

But when it works, it works. The beautifully sung closer, “The Real World”, isn’t strictly autobiographical, but it does explore the wanderlust which took Davies to Louisiana, before concluding that travel doesn’t necessarily cure a lost soul. Best of all is the pensive title track, with an Estuary-accented Davies complaining about the creeping Americanisation of England, loans, equity relief, mortgages and internet cafes, before locating his identity in a working man’s café. “In case you forgot who I am,” he sings, “I’m a kid with a greasy spoon firmly held in my hand.” Welcome home, Ray.

ALASTAIR McKAY

Paul Weller – Wild Wood – R1993

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Paul Weller – Wild Wood – R1993

“Knowing, just where you’re going?” It’s not always that easy. In 1993 British rock was at a particularly unattractive crossroads. With grunge motoring in from the West and techno building a whole new autobahn for the pop nation to travel down, the demand for sharply dressed young men with guitars was at an all time low. The NME even dedicated an entire issue to what music might sound like in 2003 –a nightmarish vision where people in Tibetan headwear enjoyed virtual sex to Banco De Gaia. Paul Weller, however, had other ideas for pop’s future. Buoyed by the critical reaction to his solo debut, he repaired to the Manor studio’s in Oxfordshire in April ’93 with plans to summon up the bucolic spirit of Traffic, John Martyn and Neil Young. Risky move, then. But Weller had several aces up his sleeve. With the jazz-funk noodlings cut to a minimum (“Instrumental One”), Weller delivered a set of pithy pop songs stripped of all unneccessary clutter, ably assisted by newly recruited sidemen, Ocean Colour Scene’s Steve Cradock and Damon Minchella. If the shaggy fuzz-rock of “Has My Fire Really Gone Out?” and “The Weaver” were reminders of his contrary spirit -not least the latter, where he barks “I put paid to the Rocket Man!”, the nostalgic mood hit a nerve with both lapsed Jam fans and young upstarts Blur and Oasis. More than a decade on, Wild Wood (accompanied here by a second CD of typically focused demos) still smells as fresh as newly cut pine. “Country” steals redemption from despair in under there minutes; “Foot Of The Mountain” still kicks-in like a Camberwell carrot on a hot afternoon. Above all, however, it’s Weller’s unshakeable self-belief which marks Wild Wood out as a landmark in British rock. Within a year of it’s release in Spetember ’93 grunge would be over, Britpop would be in full swing, and fears of rock’s demise dismissed as a bad dream. Weller would even have acquired a new nickname. PAUL MOODY UNCUT Q&A WITH PAUL WELLER: UNCUT: How did you formulate your ideas for Wild Wood? “When I finished recording my first solo album I still had quite a few songs left over, they were just flowing out of me. I remember going into Black Barn studios and recording demos of ten or twelve tracks. Straight away I knew I was onto something.” What were you listening to at the time? “I’d started really getting into Traffic. The second album, particularly. Also John Martyn. For the first time it felt like I didn’t have this weight of expectation on me to write sionge in a certain style, which was always there with The Jam and The Style Council. How do you rate it? ”It’s a special album for me. From being an anachronism, suddenly it felt like everyone was coming around to my way of thinking. Not that I can take any credit for it -there was just something in the air. Why the dig at Elton (“I put paid to the Rocket man”) in ‘The Weaver’? “I was just having fun. It was never really a dig at him, bless his cotton socks. “ INTERVIEW: PAUL MOODY

“Knowing, just where you’re going?” It’s not always that easy. In 1993 British rock was at a particularly unattractive crossroads. With grunge motoring in from the West and techno building a whole new autobahn for the pop nation to travel down, the demand for sharply dressed young men with guitars was at an all time low. The NME even dedicated an entire issue to what music might sound like in 2003 –a nightmarish vision where people in Tibetan headwear enjoyed virtual sex to Banco De Gaia.

Paul Weller, however, had other ideas for pop’s future. Buoyed by the critical reaction to his solo debut, he repaired to the Manor studio’s in Oxfordshire in April ’93 with plans to summon up the bucolic spirit of Traffic, John Martyn and Neil Young.

Risky move, then. But Weller had several aces up his sleeve. With the jazz-funk noodlings cut to a minimum (“Instrumental One”), Weller delivered a set of pithy pop songs stripped of all unneccessary clutter, ably assisted by newly recruited sidemen, Ocean Colour Scene’s Steve Cradock and Damon Minchella. If the shaggy fuzz-rock of “Has My Fire Really Gone Out?” and “The Weaver” were reminders of his contrary spirit -not least the latter, where he barks “I put paid to the Rocket Man!”, the nostalgic mood hit a nerve with both lapsed Jam fans and young upstarts Blur and Oasis.

More than a decade on, Wild Wood (accompanied here by a second CD of typically focused demos) still smells as fresh as newly cut pine. “Country” steals redemption from despair in under there minutes; “Foot Of The Mountain” still kicks-in like a Camberwell carrot on a hot afternoon. Above all, however, it’s Weller’s unshakeable self-belief which marks Wild Wood out as a landmark in British rock. Within a year of it’s release in Spetember ’93 grunge would be over, Britpop would be in full swing, and fears of rock’s demise dismissed as a bad dream. Weller would even have acquired a new nickname.

PAUL MOODY

UNCUT Q&A WITH PAUL WELLER:

UNCUT: How did you formulate your ideas for Wild Wood?

“When I finished recording my first solo album I still had quite a few songs left over, they were just flowing out of me. I remember going into Black Barn studios and recording demos of ten or twelve tracks. Straight away I knew I was onto something.”

What were you listening to at the time?

“I’d started really getting into Traffic. The second album, particularly. Also John Martyn. For the first time it felt like I didn’t have this weight of expectation on me to write sionge in a certain style, which was always there with The Jam and The Style Council.

How do you rate it?

”It’s a special album for me. From being an anachronism, suddenly it felt like everyone was coming around to my way of thinking. Not that I can take any credit for it -there was just something in the air.

Why the dig at Elton (“I put paid to the Rocket man”) in ‘The Weaver’?

“I was just having fun. It was never really a dig at him, bless his cotton socks. “

INTERVIEW: PAUL MOODY

Planet Terror

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Planet Terror

DIR: ROBERT RODRIGUEZ | ST: FREDDY RODRIGUEZ, ROSE McGOWAN The recent stalling of Quentin Tarantino’s pseudo-slasher movie Death Proof at the UK box office doesn’t bode well for Rodriguez’s zombie apocalypse flick, which originally opened the ill-fated Grindhouse compendium in the US. And that’s a shame, because Planet Terror is the film that sets out the pair’s sleazy stall, evoking the sticky seats of yesterday’s shitty cinemas right from the opening trailer. Like John Carpenter’s best, the action takes place in an endless night, in a town where the dead are coming back to life. But there’s nothing supernatural here: a local scientist is holding a mutant virus to ransom. When it escapes into the atmosphere, the townsfolk are split into the infected and the not, with the mysterious El Wray (Freddy Rodriguez) heading the counter charge against the psychotic and pustulent undead. Planet Terror works simply as a dumb, gory horror film, with pace that, ironically, often outstrips Tarantino’s ‘carmaggedon’ by a good few hundred mph. DAMON WISE

DIR: ROBERT RODRIGUEZ | ST: FREDDY RODRIGUEZ, ROSE McGOWAN

The recent stalling of Quentin Tarantino’s pseudo-slasher movie Death Proof at the UK box office doesn’t bode well for Rodriguez’s zombie apocalypse flick, which originally opened the ill-fated Grindhouse compendium in the US.

And that’s a shame, because Planet Terror is the film that sets out the pair’s sleazy stall, evoking the sticky seats of yesterday’s shitty cinemas right from the opening trailer.

Like John Carpenter’s best, the action takes place in an endless night, in a town where the dead are coming back to life. But there’s nothing supernatural here: a local scientist is holding a mutant virus to ransom. When it escapes into the atmosphere, the townsfolk are split into the infected and the not, with the mysterious El Wray (Freddy Rodriguez) heading the counter charge against the psychotic and pustulent undead.

Planet Terror works simply as a dumb, gory horror film, with pace that, ironically, often outstrips Tarantino’s ‘carmaggedon’ by a good few hundred mph.

DAMON WISE

In The Shadow Of The Moon

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In The Shadow Of The Moon

DIR: David Sington | ST: Buzz Aldrin, Alan Bean This is an exemplar of the simple idea executed brilliantly. Very possibly inspired by Andrew Smith’s wonderful 2005 book, Moondust, which undertook a similar task, In The Shadow Of The Moon goes searching for that select crew who have stood on another world and looked at ours: the surviving Apollo astronauts. In humble recognition of the fact that this is, obviously, one of the very greatest stories ever told, the astronauts (the reclusive Neil Armstrong an inevitable exception) are left to get on with relating it, their ageing, lively faces filling the screen in between amazing archive footage: pre-computer age boffins calibrating spaceflight with slide rules; Armstrong’s narrow escape from a practice landing; President Nixon’s speech to be broadcast in the event of a malfunctiong Eagle lander condemning Armstrong and Buzz Aldrin to death. This excellent doc is marred only by the fact that it’s about 12 hours too short. Like the Apollo programme itself, it’s a beautiful and irresistible hymn to human possibility. ANDREW MUELLER

DIR: David Sington | ST: Buzz Aldrin, Alan Bean

This is an exemplar of the simple idea executed brilliantly. Very possibly inspired by Andrew Smith’s wonderful 2005 book, Moondust, which undertook a similar task, In The Shadow Of The Moon goes searching for that select crew who have stood on another world and looked at ours: the surviving Apollo astronauts.

In humble recognition of the fact that this is, obviously, one of the very greatest stories ever told, the astronauts (the reclusive Neil Armstrong an inevitable exception) are left to get on with relating it, their ageing, lively faces filling the screen in between amazing archive footage: pre-computer age boffins calibrating spaceflight with slide rules; Armstrong’s narrow escape from a practice landing; President Nixon’s speech to be broadcast in the event of a malfunctiong Eagle lander condemning Armstrong and Buzz Aldrin to death.

This excellent doc is marred only by the fact that it’s about 12 hours too short. Like the Apollo programme itself, it’s a beautiful and irresistible hymn to human possibility.

ANDREW MUELLER

Kasabian To Headline Edinburgh’s Hogmanay Party

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Kasabian To Headline Edinburgh’s Hogmanay Party

Kasabian have been announced as headliners for this year's Hogmanay at Edinburgh's Concert In The Gardens on New Year's Eve. Idlewild have already been confirmed as one of the support acts at the party in Princes Street Gardens in the city. Kasabian front man Tom Meighan declared: "It is an honour to be asked to play Hogmanay this year. Scotland is always a special place to play and New Year's Eve will be even more special. We promise." Edinburgh Hogmanay's director of events Pete Irvine said: "We're delighted we've got another strong line-up for the Concert In The Gardens. Although we've altered the formula a bit from previous years, there's no question the Gardens will rock." More artists for the concert are due to be revealed in the next few days. Edinburgh's Hogmanay this year is a four-day festival, including street parties, candle lighting as well as a Viking Torch procession. Tickets for the December 31 concert are £37.50 and will go on sale on Saturady November 3 at 9am. Further information and tickets will be available from the event's website here www.edinburghshogmanay.org/.

Kasabian have been announced as headliners for this year’s Hogmanay at Edinburgh’s Concert In The Gardens on New Year’s Eve.

Idlewild have already been confirmed as one of the support acts at the party in Princes Street Gardens in the city.

Kasabian front man Tom Meighan declared: “It is an honour to be asked to play Hogmanay this year. Scotland is always a special place to play and New Year’s Eve will be even more special. We promise.”

Edinburgh Hogmanay’s director of events Pete Irvine said: “We’re delighted we’ve got another strong line-up for the Concert In The Gardens.

Although we’ve altered the formula a bit from previous years, there’s no question the Gardens will rock.”

More artists for the concert are due to be revealed in the next few days.

Edinburgh’s Hogmanay this year is a four-day festival, including street parties, candle lighting as well as a Viking Torch procession.

Tickets for the December 31 concert are £37.50 and will go on sale on Saturady November 3 at 9am.

Further information and tickets will be available from the event’s website here www.edinburghshogmanay.org/.

Robert Plant, Boredoms, Flower Travellin’ Band and Wild Beasts!

John Mulvey
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Some interesting things turned up from you this week, not least a couple of impassioned defences of the Robert Plant & Alison Krauss album, which seemed to be getting a rough ride from some unreconstructed old Led Zep fans. The second link goes to a message from a visitor called Steve Shaw, whose pleasure at "Raising Sand" and simultaneous excitement about the Led Zep reunion pretty much echoes my own. "Plant's opinion of the O2 gig seems to have changed markedly since last month's Uncut," Steve reports. "He's now hoping he enjoys it and saying how much the rush for tickets has humbled him. If I were a betting man, my money would be on us all getting the oportunity to see LZ before the end of next year. As long as O2 goes well. Will he really want to be seen as the man that denied the world it's LZ reunion tour?" Maybe Plant could take Krauss along with them, if only to do "Battle Of Evermore"? Over at the blog on Mog, someone called Grooveminded has filed a rant about the Plant/Krauss hook-up which I don't agree with, but which certainly makes a change from the whingeing Zep fans: "Robert Plant is lucky that such a Talent as Alison Krauss would even look his way…...I mean c’mon, the last 4 Plant Albums have sold , what, 15 copies each?.....And the last 4 Krauss Albums have sold what, like 40 million?......So, the reality check is, Alison has been very gracious in allowing Robert any of her esteemable time, coz her time is FINE whereas Robert's time is history......this is how it is….. and i’m certainly glad to see that Robert is now lauding the praises of Alison and this CD in his interviews, as before it was released he was reticent, non committed, and lacking in serious enthusiasm, but he has learned, along with John Waite, Brad Paisley, Alan Jackson, and many others, that whatever Alison favors with her angelic vocals, incredible violin playing, and immense talent = turns to gold….....Ditto this “Plant” album….." More good stuff on the Boredoms blog, which suggests that the band were every bit as astonishing in Aberdeen as they were in London. And after this blog about Japrocksampler, I've now got hold and am working my way through the impressive back catalogue of the Flower Travellin' Band - that's the nude bikers seen on the cover of Julian Cope's book, if you didn't know. Like Cope, I can totally recommend the imperial ur-metal of "Satori", which Mark in the Uncut office likened to a band with Darth Vader on guitar. The guitarist is amazing, actually: regal, effectless, with a style that somehow incorporates grand Eastern elements into his highly-disciplined freak-outs. Check out the extraordinary epic that is "Louisiana Blues" on their "Anywhere" debut, too, if you can. One more thing today. I'm a bit wary of those end-of-year things where music hacks tip a bunch of new bands whose CDs they've just been sent by crafty PRs (who will be the Mika of 2008? Do you care, folks?). Nevertheless, I'd love Wild Beasts to break through next year. I've written about their last single here and their live show at Latitude here (links galore today, it seems). Anyway, the new single is called "Assembly", is on the estimable Domino label, and has been produced by Tore Johanson who I think did Franz Ferdinand, if memory serves. It's hardly glossy, mind. As I wrote before, Wild Beasts have this phenomenally lopsided gait, a circuitous way with a melody which totally recalls Orange Juice, a singer whose hiccuping meanders suggest Billy Mackenzie in the throes of an excruciating puberty, and - as "Assembly" proves - a general quicksilver excellence which means that, out of so many vacilllating and collapsible elements, their songs stagger out in quite amazingly memorable fashion. Here's their MySpace: they're from "Leeds via Kendal", apparently

Some interesting things turned up from you this week, not least a couple of impassioned defences of the Robert Plant & Alison Krauss album, which seemed to be getting a rough ride from some unreconstructed old Led Zep fans.

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Jean Michel Jarre Turns Oxygene 3D

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Jean Michel Jarre Turns Oxygene 3D

Jean Michel Jarre is releasing a special 'Oxygene 30th Anniversary Edition' 3D DVD as well as a 5.1 surround sound re-recording of his defining 1976 debut. The 30th anniversary version of 'Oxygene - Live In Your Living Room' saw Jean Michel Jarre unearth his collection of vintage synthesisers for the new recording. Jarre has also added four new tracks to the work. Filming his performance live - Jarre is the first person to employ a stereoscopic camera to record the show in 3D. James Cameron, director of Titanic has patented a new stereoscopic movie camera and plans to release his next movie in stereoscopic 3D. Jean Michel Jarre was accompanied by three musicians for this special live performance, as the eight track original requires eight hands for a live performance. Played totally live in one take, without tape or hard-disk playback, Jarre was joined by musicians Francis Rimbert, Claude Samard and Dominique Perrier. Oxygene - Live In Your Living Room will be available on CD, 2D DVD with audio CD, and Ltd edition 3D DVD and 5.1 CD. The tracklisting for the DVD is: [01] Prelude (New track) [02] Oxygene (Part I) [03] Oxygene (Part II) [04] Oxygene (Part III) [05] Variation (Part I) (New track) [06] Oxuygene (Part IV) [07] Variation (Part II) (New track) [08] Oxygene (Part V) [09] Variation (Part III) (NEW Track) [10] Oxygene (Part VI)

Jean Michel Jarre is releasing a special ‘Oxygene 30th Anniversary Edition’ 3D DVD as well as a 5.1 surround sound re-recording of his defining 1976 debut.

The 30th anniversary version of ‘Oxygene – Live In Your Living Room’ saw Jean Michel Jarre unearth his collection of vintage synthesisers for the new recording. Jarre has also added four new tracks to the work.

Filming his performance live – Jarre is the first person to employ a stereoscopic camera to record the show in 3D.

James Cameron, director of Titanic has patented a new stereoscopic movie camera and plans to release his next movie in stereoscopic 3D.

Jean Michel Jarre was accompanied by three musicians for this special live performance, as the eight track original requires eight hands for a live performance.

Played totally live in one take, without tape or hard-disk playback, Jarre was joined by musicians Francis Rimbert, Claude Samard and Dominique Perrier.

Oxygene – Live In Your Living Room will be available on CD, 2D DVD with audio CD, and Ltd edition 3D DVD and 5.1 CD.

The tracklisting for the DVD is:

[01] Prelude (New track)

[02] Oxygene (Part I)

[03] Oxygene (Part II)

[04] Oxygene (Part III)

[05] Variation (Part I) (New track)

[06] Oxuygene (Part IV)

[07] Variation (Part II) (New track)

[08] Oxygene (Part V)

[09] Variation (Part III) (NEW Track)

[10] Oxygene (Part VI)

American Music Club To Tour!

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American Music Club To Tour!

American Music Club have announced a ten-date UK tour for early next year. The band are coming over in February to promote their ninth studio album 'The Golden Age', their first since 2004's Love Songs For Patriots'. Speaking about the new material and answering critics to his dark songs, songwriter and front man Mark Eitzel has said: “I don’t intend to make songs dark or difficult. I want to make the best f*cked up pop songs out there.” American Music Club have gained two new members, Eitzel and guitarist Vudi remain from the old formation. Newcomers are bassist Sean Hoffman and former The Lark's drummer Steve Didelot. AMC last played the UK, at London's South Bank in 2004. See them play here: Bristol, Thekkla (February 3) Leeds, Irish Centre (5) Manchester, Academy 3 (6) Newcastle, The Cluny (7) Glasgow, Oran Mor (8) Nottingham, Rescue Rooms (9) Birmingham, Glee Club (10) Brighton, Concorde 2 (12) London, Dingwalls (13) Norwich, Arts Centre (March 20) Read Uncut's first review of The Golden Age on John Mulvey's Wild Mercury Sound blog here. More news details about the album are available here. The band's official website is here: www.american-music-club.com

American Music Club have announced a ten-date UK tour for early next year.

The band are coming over in February to promote their ninth studio album ‘The Golden Age’, their first since 2004’s Love Songs For Patriots’.

Speaking about the new material and answering critics to his dark songs, songwriter and front man Mark Eitzel has said: “I don’t intend to make songs dark or difficult. I want to make the best f*cked up pop songs out there.”

American Music Club have gained two new members, Eitzel and guitarist Vudi remain from the old formation. Newcomers are bassist Sean Hoffman and former The Lark’s drummer Steve Didelot.

AMC last played the UK, at London’s South Bank in 2004.

See them play here:

Bristol, Thekkla (February 3)

Leeds, Irish Centre (5)

Manchester, Academy 3 (6)

Newcastle, The Cluny (7)

Glasgow, Oran Mor (8)

Nottingham, Rescue Rooms (9)

Birmingham, Glee Club (10)

Brighton, Concorde 2 (12)

London, Dingwalls (13)

Norwich, Arts Centre (March 20)

Read Uncut’s first review of The Golden Age on John Mulvey’s Wild Mercury Sound blog here.

More news details about the album are available here.

The band’s official website is here: www.american-music-club.com

The Eagles land in London for ‘intimate’ show. . .

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I’m standing at the bar of the swanky Indigo2 annexe to the O2 Arena when someone over the PA tells me to take my seat and stay there. The Eagles, playing for them what must be the equivalent of someone’s front room - an intimate show to promote Long Road Out Of Eden, their first album of new material for 28 years - are about to come on and we are apparently not going to be allowed to leave our seats during any of the numbers they are playing, on point, no doubt, of a slow and painful death. They’re already closing the bars and the lights are going down. Tonight’s show in the 1300 capacity high-tech venue is somewhat odd in that tickets have not been made generally available to Eagles fans, who would doubtless have paid small fortunes to see them at such close hand, the band’s more natural habitat being the stadium, arena and enormodome where in their heyday they were most at home, the biggest band of their time playing the kind of places appropriate to their popularity, the scale of which, to many of us, was simply mystifying. There are some competition winners here, apparently, fans who got lucky, but the bulk of the crowd is made up, I’m given to understand, of specially invited media types, among whose company I suppose I must count myself, here to witness the band launching the new album with a full-blown, two hours-plus show. It’s an elaborate conceit, I suppose, and at least guarantees them a ton of publicity and plenty of headlines to accompany the record’s release, which they would hardly seem to need when you hear the album’s is a virtually guaranteed number one in every territory known to man and a few more besides. I suppose what I’m brooding over as I take a seat among enough fellow veterans of the UK music oppress to have an editorial meeting is the point of all this, which escapes pretty much everyone I speak to, none of them entirely sure why the band are even doing this, the new album already a guaranteed success and all that. And it’s this what you might call vagueness of purpose that does much to define the evening’s subdued and somewhat stilted mood, the curiously muted atmosphere not much helped by an audience that appears to have been largely sedated upon entry. You got to see, say the Stones and the crowd’s on its feet in an instant. Tonight when The Eagles, mostly portly, apart from gaunt bassist Timothy B Schmit, walk out onstage they aren’t so much hysterically received as warmly welcomed, like a batsman walking to the crease in a game of cricket. There’s an astonishing level of politeness in everything that follows, including the group’s wary affability and what seems like a rather shrill camaraderie between the formerly warring veterans, and a lot of rather specious joshing. The singing and playing, it probably goes without saying, are supernaturally impeccable, but everything seems rehearsed to within and inch of its life, the burnished gleam of everything they do eventually becoming an empty dazzle. Before long I’m sitting like most of the people around me in silent admiration for their breathtaking craft, but no love at all for what I’m listening to, which is by now basically a greatest hits set, all the old favourites wheeled out in stately procession – “Peaceful Easy feeling”, “One Of These Nights”, “Lyin’ Eyes”, “Take It Easy” and “Desperado” at the death. I have long-since started to drift off, however, and have to be reminded later that they had also played “Hotel California”, which evidently had passed me by completely. The Eagles’ Indigo2 set list How Long Busy Being Fabulous I Don't Want To Hear It Anymore Guilty Of The Crime Hotel California Peaceful Easy Feeling One Of These Nights Lyin' Eyes Boys Of Summer In The City Long Run Life's Been Good Dirty Laundry Funk 49 Heartache Tonight Life In The Fast Lane First encore Rocky Mountain way All She Wants To Do Is Dance Second encore Take It Easy Desperado

I’m standing at the bar of the swanky Indigo2 annexe to the O2 Arena when someone over the PA tells me to take my seat and stay there.

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Muse Scoop Double Honours At MTV Awards

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Muse Scoop Double Honours At MTV Awards

Muse have scooped two top honours at this years MTV Europe Music Awards tonight (November 1). The English rock trio have won Best UK and Ireland Act and Best Headline Act at the ceremony hosted by Snoop Dogg in Munich, Germany. Pop star Avril Lavigne also grabbed two honours at the event, being named Best Solo Artist and her hit single 'Girlfriend', was named Most Addictive Track. Babyshambles were among the artists who performed at the ceremony - with a more focussed sounding front man in Pete Doherty. The singer, who recieved a suspended jail sentence on Monday (October 29) for drug and motoring offences told a news reporter outside the awards venue:"It's a whole turnaround in the Babyshambles philosophy," when asked to explain his band's punctuality for rehearsals. Amy Winehouse, who performed 'Back To Black' at the ceremony as a last minute addition to the bill, took the Artist Choice award which is voted for by fellow musicians. The MTV Europe Music Awards also saw live performances from Foo Fighters, My Chemical Romance and Mika.

Muse have scooped two top honours at this years MTV Europe Music Awards tonight (November 1).

The English rock trio have won Best UK and Ireland Act and Best Headline Act at the ceremony hosted by Snoop Dogg in Munich, Germany.

Pop star Avril Lavigne also grabbed two honours at the event, being

named Best Solo Artist and her hit single ‘Girlfriend’, was named Most Addictive Track.

Babyshambles were among the artists who performed at the ceremony – with a more focussed sounding front man in Pete Doherty.

The singer, who recieved a suspended jail sentence on Monday (October 29) for drug and motoring offences told a news reporter outside the awards venue:”It’s a whole turnaround in the Babyshambles philosophy,” when asked to explain his band’s punctuality for rehearsals.

Amy Winehouse, who performed ‘Back To Black’ at the ceremony as a last minute addition to the bill, took the Artist Choice award which is voted for by fellow musicians.

The MTV Europe Music Awards also saw live performances from Foo Fighters, My Chemical Romance and Mika.

Led Zeppelin Reunion Show Is Postponed

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Led Zeppelin Reunion Show Is Postponed

Led Zeppelin have announced that their one-off reunion show at the Ahmet Ertegun Tribute concert has had to be postponed, after Jimmy Page injured his finger in rehearsals. Page fractured his finger last weekend, but the injury is only likely to prevent the star from playing for the next three weeks. The legendary guitarist has been told to rest by his medical specialist, so the hyped-up reunion show is now set to take place at London's 02 Arena on December 10, fourteen days after the original planned concert on November 26. In a press statement this evening, Jimmy Page explained his dismay at the delay, but added: "I am disappointed that we are forced to postpone the concert by two weeks. However, Led Zeppelin have always set very high standards for ourselves, and we feel that this postponement will enable my injury to properly heal, and permit us to perform at the level that both the band and our fans have always been accustomed to." All tickets for the original show will be honoured at the rescheduled date. Those who are unable to attend are able to request a refund at their point of purchase prior to noon (GMT) on November 14. Any tickets returned will then be offered to ballot winners selected at random from the original registrations. The Ahmet Ertegun Tribute Concert is also set to feature Bill Wyman's Rhythm Kings, Foreigner and Paolo Nutini is being held to raise money to pay for education scholarships in the UK, US and Turkey. To read the full new press release or for more details about the concert or the Ertegun education fund - click here for the Led Zeppelin's official website:www.ledzeppelin.com Pic credit: Rex Features

Led Zeppelin have announced that their one-off reunion show at the Ahmet Ertegun Tribute concert has had to be postponed, after Jimmy Page injured his finger in rehearsals.

Page fractured his finger last weekend, but the injury is only likely to prevent the star from playing for the next three weeks.

The legendary guitarist has been told to rest by his medical specialist, so the hyped-up reunion show is now set to take place at London’s 02 Arena on December 10, fourteen days after the original planned concert on November 26.

In a press statement this evening, Jimmy Page explained his dismay at the delay, but added: “I am disappointed that we are forced to postpone the concert by two weeks.

However, Led Zeppelin have always set very high standards for ourselves, and we feel that this postponement will enable my injury to properly heal, and permit us to perform at the level that both the band and our fans have always been accustomed to.”

All tickets for the original show will be honoured at the rescheduled date.

Those who are unable to attend are able to request a refund at their point of purchase prior to noon (GMT) on November 14. Any tickets returned will then be offered to ballot winners selected at random from the original registrations.

The Ahmet Ertegun Tribute Concert is also set to feature Bill Wyman’s Rhythm Kings, Foreigner and Paolo Nutini is being held to raise money to pay for education scholarships in the UK, US and Turkey.

To read the full new press release or for more details about the concert or the Ertegun education fund – click here for the Led Zeppelin’s official website:www.ledzeppelin.com

Pic credit: Rex Features

Super Furry Animals To See In New Year In Full Colour

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Super Furry Animals To See In New Year In Full Colour

Super Furry Animals have revealed that they will host a New Year's Eve party at London's Royal Festival. The Welsh psyche group will play a headline show, as well as as-yet unnanounced support acts. There will also be guest DJs, art installations and special visual shows. The band have promised that they will transform the venue into a "surrealist playground defying the logic of space and time". Tickets for the event go on sale tomorrow (November 2) at 10am. More details will be announced at the Royal Festival Hall's website here: www.southbankcentre.co.uk/music

Super Furry Animals have revealed that they will host a New Year’s Eve party at London’s Royal Festival.

The Welsh psyche group will play a headline show, as well as as-yet unnanounced support acts.

There will also be guest DJs, art installations and special visual shows.

The band have promised that they will transform the venue into a “surrealist playground defying the logic of space and time”.

Tickets for the event go on sale tomorrow (November 2) at 10am.

More details will be announced at the Royal Festival Hall’s website here: www.southbankcentre.co.uk/music

Bill Wyman’s Rhythm Kings To Hit The Road

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Bill Wyman’s Rhythm Kings To Hit The Road

Bill Wyman's Rhythm Kings have announced a mammoth UK tour for next year, taking his blues roots on the road from January to March. The legendary musician, and former Rolling Stone has collected together several veteran rhythm'n' blues musicians including Dr Hook's vocalist Dennis Locorriere, blues pianist Geraint Watkins, guitarist Albert Lee and Graham Broad to be the Rhythm Kings. Bill Wyman explains the drive behind the new formation by saying:"The whole idea behind the band was to play music that we love and I think you can hear and feel that on our records. Playing live, doing gigs, means everybody in the band does it for the same reasons as I do; to have a good time and send the crowd home with smiles on their faces." Bill Wyman's Rhythm Kings are also appearing at the Ahmet Ertegun Tribute concert, headlined by Led Zeppelin, taking place at London's 02 Arena on November 26. The 32-date tour calls at: Glenrothes, Rothes Hall (January 24) Harrogate, IC (25) Milton Keynes, Stables (26) Dartford, Orchard Theatre (28) Barnstaple, Queen’s Theatre (30)£26.50 Gateshead, The Sage (February 1) Glasgow, Royal Concert Hall (2) Aberdeen, Music Hall (3) Dundee, Caird Hall (4) Llandudno, Venue Cymru (6) Coventry, Warwick Arts Centre (7) Ipswich, Regent (8) Cambridge, Corn Exchange (9) Truro, Hall for Cornwall (11) Croydon, Fairfield Hall (12) Nottingham, Royal Concert Hall (13) High Wycombe, Swan (14) Swansea, Grand Theatre (16) Norwich, Theatre Royal (17) Portsmouth, Guildhall (18) Southend, Cliffs Pavilion (19) Basingstoke, Anvil (21) Malvern, Forum Theatre (22) Buxton, Opera House (23) York, Grand Opera House (24) Salisbury, City Hall (26) Brighton, Dome (27) St Albans, Arena (29) Sheffield, City Hall (March 1) Salford, Lowry (2) Northampton, Derngate (3) Dorking, Halls (5)

Bill Wyman’s Rhythm Kings have announced a mammoth UK tour for next year, taking his blues roots on the road from January to March.

The legendary musician, and former Rolling Stone has collected together several veteran rhythm’n’ blues musicians including Dr Hook’s vocalist Dennis Locorriere, blues pianist Geraint Watkins, guitarist Albert Lee and Graham Broad to be the Rhythm Kings.

Bill Wyman explains the drive behind the new formation by saying:”The whole idea behind the band was to play music that we love and I think you can hear and feel that on our records. Playing live, doing gigs, means everybody in the band does it for the same reasons as I do; to have a good time and send the crowd home with smiles on their faces.”

Bill Wyman’s Rhythm Kings are also appearing at the Ahmet Ertegun Tribute concert, headlined by Led Zeppelin, taking place at London’s 02 Arena on November 26.

The 32-date tour calls at:

Glenrothes, Rothes Hall (January 24)

Harrogate, IC (25)

Milton Keynes, Stables (26)

Dartford, Orchard Theatre (28)

Barnstaple, Queen’s Theatre (30)£26.50

Gateshead, The Sage (February 1)

Glasgow, Royal Concert Hall (2)

Aberdeen, Music Hall (3)

Dundee, Caird Hall (4)

Llandudno, Venue Cymru (6)

Coventry, Warwick Arts Centre (7)

Ipswich, Regent (8)

Cambridge, Corn Exchange (9)

Truro, Hall for Cornwall (11)

Croydon, Fairfield Hall (12)

Nottingham, Royal Concert Hall (13)

High Wycombe, Swan (14)

Swansea, Grand Theatre (16)

Norwich, Theatre Royal (17)

Portsmouth, Guildhall (18)

Southend, Cliffs Pavilion (19)

Basingstoke, Anvil (21)

Malvern, Forum Theatre (22)

Buxton, Opera House (23)

York, Grand Opera House (24)

Salisbury, City Hall (26)

Brighton, Dome (27)

St Albans, Arena (29)

Sheffield, City Hall (March 1)

Salford, Lowry (2)

Northampton, Derngate (3)

Dorking, Halls (5)

The Eagles Fly Through Their Hits At London Show

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The Eagles Fly Through Their Hits At London Show

The Eagles launched their first new album in 28 years with a special one-off show in London last night (October 31). The band comprising Don Henley, Glenn Frey, Joe Walsh and Timothy B Schmit played for over two hours to an intimate, by their usual standards, crowd of 1,300 invited guests and competition winners at London's indigo2 venue. Kicking off the show with their first new single in nearly three decades 'How Long', taken from their new double album 'Long Road Out Of Eden'. The next three tracks were also taken from the new material, before the band started with their canon of California rock, 'Peaceful Easy Feeling' and 'One Of These Nights' through 'Lyin' Eyes', 'Boys Of Summer' to a second encore that ended the show with 'Desperado.' The Eagles played: How Long Busy Being Fabulous I Don't Want To Hear It Anymore Guilty Of The Crime Hotel California Peaceful Easy Feeling One Of These Nights Lyin' Eyes Boys Of Summer In The City Long Run Life's Been Good Dirty Laundry Funk 49 Heartache Tonight Life In The Fast Lane First encore: Rocky Mountain way All She Wants To Do Is Dance Second encore: Take It Easy Desperado You can find out more about the album in Uncut's four-star rated review here. More information on the band is available from The Eagle's official website here: www.eaglesband.com. Pic credit: PA Photos

The Eagles launched their first new album in 28 years with a special one-off show in London last night (October 31).

The band comprising Don Henley, Glenn Frey, Joe Walsh and Timothy B Schmit played for over two hours to an intimate, by their usual standards, crowd of 1,300 invited guests and competition winners at London’s indigo2 venue.

Kicking off the show with their first new single in nearly three decades ‘How Long’, taken from their new double album ‘Long Road Out Of Eden’.

The next three tracks were also taken from the new material, before the band started with their canon of California rock, ‘Peaceful Easy Feeling’ and ‘One Of These Nights’ through ‘Lyin’ Eyes’, ‘Boys Of Summer’ to a second encore that ended the show with ‘Desperado.’

The Eagles played:

How Long

Busy Being Fabulous

I Don’t Want To Hear It Anymore

Guilty Of The Crime

Hotel California

Peaceful Easy Feeling

One Of These Nights

Lyin’ Eyes

Boys Of Summer

In The City

Long Run

Life’s Been Good

Dirty Laundry

Funk 49

Heartache Tonight

Life In The Fast Lane

First encore:

Rocky Mountain way

All She Wants To Do Is Dance

Second encore:

Take It Easy

Desperado

You can find out more about the album in Uncut’s four-star rated review here.

More information on the band is available from The Eagle’s official website here: www.eaglesband.com.

Pic credit: PA Photos

Gary Numan Celebrates Birthday With A 2008 Tour

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Gary Numan Celebrates Birthday With A 2008 Tour

Gary Numan has announced a full fifteen date UK tour for Spring 2008. The electro genius will be performing his 1979 number one album 'Replicas' in full at the shows. The Beggars Banquet released album featured the defining singles 'Are Friends Electric' and 'Down In The Park' and Numan will also be performing the B-sides to the singles on the tour. The hugely influential album has seen many artists cover tracks - including Damon Albarn recording one of the more obscure Replicas' 'outtake's 'We Have A Technical'. Sugababes scored a UK Number 1 in 2002 by sampling 'Are 'Friends' Electric?' for their single 'Freak Like Me' and other acts who have covered tracks on Replicas include Smashing Pumpkins, Beck and Moloko. Numan is also set to appear in a forthcoming episode of gothic comedy The Mighty Boosh. 2008 sees Gary Numan celebrating 30 years since the release of his first single, 'That's Too Bad' from his debut 'Tubeway Army' came out on February 10, 1978. Numan will also be celebrating his 50th birthday. The Replicas tour kicks off in February. Numanoids get yourself to: Bristol Academy (February 29) Sheffield Corporation (March 1) Glasgow ABC Belfast Spring & Airbrake(3) Dublin Tripod (4) Nottingham Rock City (5) Newcastle Academy (7) Manchester Academy (8) Norwich UEA (9) Wolverhampton Wulfren Hall (10) Cambridge The Junction (11) Brighton The Dome (12) Oxford Academy (13) Southampton University (14) London indig02 (15) Replicas track listing is: 'Me! I Disconnect from You' 'Are 'Friends' Electric?' 'The Machman' 'Praying to the Aliens' 'Down in the Park' 'You Are in My Vision'' 'Replicas' 'It Must Have Been Years' 'When the Machines Rock' 'I Nearly Married a Human' 'Do You Need the Service?'* 'The Crazies'* 'Only a Downstat'* 'We Have a Technical'* 'We Are So Fragile'* * are outtakes from the original LP added for the CD.

Gary Numan has announced a full fifteen date UK tour for Spring 2008.

The electro genius will be performing his 1979 number one album ‘Replicas‘ in full at the shows.

The Beggars Banquet released album featured the defining singles ‘Are Friends Electric’ and ‘Down In The Park’ and Numan will also be performing the B-sides to the singles on the tour.

The hugely influential album has seen many artists cover tracks – including Damon Albarn recording one of the more obscure Replicas’ ‘outtake’s ‘We Have A Technical’.

Sugababes scored a UK Number 1 in 2002 by sampling ‘Are ‘Friends’ Electric?’ for their single ‘Freak Like Me’ and other acts who have covered tracks on Replicas include Smashing Pumpkins, Beck and Moloko.

Numan is also set to appear in a forthcoming episode of gothic comedy The Mighty Boosh.

2008 sees Gary Numan celebrating 30 years since the release of his first single, ‘That’s Too Bad’ from his debut ‘Tubeway Army’ came out on February 10, 1978.

Numan will also be celebrating his 50th birthday.

The Replicas tour kicks off in February. Numanoids get yourself to:

Bristol Academy (February 29)

Sheffield Corporation (March 1)

Glasgow ABC

Belfast Spring & Airbrake(3)

Dublin Tripod (4)

Nottingham Rock City (5)

Newcastle Academy (7)

Manchester Academy (8)

Norwich UEA (9)

Wolverhampton Wulfren Hall (10)

Cambridge The Junction (11)

Brighton The Dome (12)

Oxford Academy (13)

Southampton University (14)

London indig02 (15)

Replicas track listing is:

‘Me! I Disconnect from You’

‘Are ‘Friends’ Electric?’

‘The Machman’

‘Praying to the Aliens’

‘Down in the Park’

‘You Are in My Vision”

‘Replicas’

‘It Must Have Been Years’

‘When the Machines Rock’

‘I Nearly Married a Human’

‘Do You Need the Service?’*

‘The Crazies’*

‘Only a Downstat’*

‘We Have a Technical’*

‘We Are So Fragile’*

* are outtakes from the original LP added for the CD.

American Music Club’s “The Golden Age”

John Mulvey
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Forgive me for recycling press releases, but there’s an interesting line in this one which accompanies the new album by American Music Club. “Dark music is for people who are healthy enough to take it,” it reads, “And AMC want to appeal to all people – including the sick.” Which reminds me of a fairly healthy unhealthy reputation I had in the early years of being a music journalist, when I purportedly only liked miserable music, because I wrote so much about AMC and their spectacularly doleful San Francisco contemporaries, the Red House Painters. AMC’s regular trick, you may recall, was to establish a gentle musical backdrop, over which Mark Eitzel could spill his guts. Many’s the night I spent watching him have what amounted to miniature nervous breakdowns onstage: I was reminiscing a few minutes ago about a particularly harrowing solo show at the black hole of Camden, the Falcon, which left the audience in as shattered an emotional state as the man himself. I loved it. Eitzel doesn’t seem to put himself through the wringer vocally quite so much these days, but a lot remains the same about his music. The point of that quote above is that “The Golden Age”, their very engaging new album, is allegedly a throwback to the mellow, baked soft-rock of the early ‘70s. I can see that to a degree, but really, “The Golden Age” sounds a hell of a lot like some of those early AMC albums, specifically 1988’s “California”, I think – though I must admit it’s been a while since I played those records. But unlike their last comeback– 2004’s disappointing Lovesongs For Patriots – The Golden Age is barely an American Music Club album, going on the personnel: only Eitzel and the indescribably subtle guitarist Vudi remain from the old line-up. You’d never know, though: the melodies remain sketchy and impressionistic, taking, as Allan (another big old fan) mentioned the other day, a lot of plays to insinuate themselves. Eitzel doesn’t choke on the words quite so often any more, but age does not seem to have brought him much closer to happiness. I haven’t played this at home yet, so I haven’t really had the opportunity to listen to the words properly. Nevertheless, things still spring out in the office that could have come from any AMC or Eitzel solo record of the last 20 years. The first line on the record, opening “All My Love”, runs “I wish that we were always high. . .” “The Decibels And The Little Pills” has a lightly-delivered chorus of “No-one here is gonna save me”. Track six is called “All The Lost Souls Welcome You To San Francisco”, which is surely so predictable a title and subject for Eitzel that he must be – with the usual tortuous self-deprecation, I’m sure – aware of the risk of self-parody. The thing is, it all falls together beautifully: I can’t remember enjoying an Eitzel-related album so much since maybe 1993’s “Mercury”. Give it the requisite time, and memorable songs materialise out of the exquisite atmospheres here – “The Dance”, “I Know That’s Not Really You”, the aforementioned “Lost Souls. . .”, a quite brilliant one called “The Stars” which reminds me of what a powerful, original guitarist Vudi can be at his best, shaping a lovely, looming ambience which underscores Eitzel’s fragile tales far more effectively than any other musical backdrop the singer used in their years apart. This one’s not out 'til February, so plenty more time for me to live with it and get to the bottom of what Eitzel is writing about. Maybe I’ll come back to this one nearer Christmas.

Forgive me for recycling press releases, but there’s an interesting line in this one which accompanies the new album by American Music Club. “Dark music is for people who are healthy enough to take it,” it reads, “And AMC want to appeal to all people – including the sick.”

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Elvis Presley Tops RIP Rich List

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Elvis Presley Tops RIP Rich List

Elvis Presley has topped the Top-Earning Dead Celebrities list once again with an income, this year, of £23.7 million. Presley may have died in 1977, but the Elvis Estate continues to make huge amounts of money from royalties, licensing and tourism, through his former home Graceland in Memphis. The King was last at the top pf the annually compiled list in 2005, after being pipped briefly in last year's list. Nirvana's Kurt Cobain was the Top Earning Dead Celebrity last year after his widow Courtney Love sold 25% of her stake in the Nirvana catalogue to Primary Wave. The former Beatle John Lennon ranked second in this year's list with $44m (£21.3m), while Peanuts cartoon creator Charles M Schulz came in third. Lennon's Beatle bandmate George Harrison was fourth with $22m (£10.6m). The list is compiled annually by US publication Forbes. The full 2007 top ten is: 1. Elvis Presley - $49m 2. John Lennon - $44m 3. Charles M Schulz - $35m 4. George Harrison - $22m 5. Albert Einstein - $18m 6. Andy Warhol - $15m 7. Theodor Geisel (Dr Seuss) - $13m 8. Tupac Shakur - $9m 9. Marilyn Monroe - $7m 10. Steve McQueen - $6m

Elvis Presley has topped the Top-Earning Dead Celebrities list once again with an income, this year, of £23.7 million.

Presley may have died in 1977, but the Elvis Estate continues to make huge amounts of money from royalties, licensing and tourism, through his former home Graceland in Memphis.

The King was last at the top pf the annually compiled list in 2005, after being pipped briefly in last year’s list.

Nirvana‘s Kurt Cobain was the Top Earning Dead Celebrity last year after his widow Courtney Love sold 25% of her stake in the Nirvana catalogue to Primary Wave.

The former Beatle John Lennon ranked second in this year’s list with $44m (£21.3m), while Peanuts cartoon creator Charles M Schulz came in third.

Lennon’s Beatle bandmate George Harrison was fourth with $22m (£10.6m).

The list is compiled annually by US publication Forbes.

The full 2007 top ten is:

1. Elvis Presley – $49m

2. John Lennon – $44m

3. Charles M Schulz – $35m

4. George Harrison – $22m

5. Albert Einstein – $18m

6. Andy Warhol – $15m

7. Theodor Geisel (Dr Seuss) – $13m

8. Tupac Shakur – $9m

9. Marilyn Monroe – $7m

10. Steve McQueen – $6m

Nine Inch Nails Reveal Remix Details

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Nine Inch Nails Reveal Remix Details

Nine Inch Nails have revealed details about their forthcoming remix album - and guest mixers include half of New Order and Ladytron. The remix of their most recent studio album 'Year Zero' album is to be entitled 'Y34RZ3ROR3M1X3D' and New Order's Stephen Morris and Gillian Gilbert have remixed the tracks 'God Given' and 'Zero Sum'. Electro band Ladytron have tackled 'The Beginning Of The End'. The album will be accompanied by a website, www.remix.nin.com, where fans will be able to post their own versions of tracks from 'Year Zero'. Talking to Alternative Press, NIN front man Trent Reznor said: "Remix records can be disposable garbage (of which I myself have been guilty to some extent) but this collection feels good to me." 'Y34RZ3ROR3M1X3D' is due for release on November 21. The full list of remixers is as follows: 'Gunshots By Computer' - Saul Williams 'The Great Destroyer' - Modwheelmood 'My Violent Heart' - Pirate Robot Midget 'The Beginning Of The End' - Ladytron 'Survivalism' - Saul Williams 'Capital G' - Epworth Phones 'Vessel' - Bill Laswell 'The Warning' - Stefan Goodchild featuring Doudou n'Diaye Rose 'Meet Your Master' - The Faint 'God Given' - Stephen Morris & Gillian Gilbert 'Me, I'm Not' - Olof Dreijer 'Another Version Of The Truth' - Kronos Quartet & Enrique Gonzalez Müller 'In This Twilight' - Fennesz 'Zero Sum' - Stephen Morris & Gillian Gilbert As previously reported, Nine Inch Nails have recently parted with their major label record company after 18 years. Click here for more information.

Nine Inch Nails have revealed details about their forthcoming remix album – and guest mixers include half of New Order and Ladytron.

The remix of their most recent studio album ‘Year Zero’ album is to be entitled ‘Y34RZ3ROR3M1X3D’ and New Order’s Stephen Morris and Gillian Gilbert have remixed the tracks ‘God Given’ and ‘Zero Sum’.

Electro band Ladytron have tackled ‘The Beginning Of The End’.

The album will be accompanied by a website, www.remix.nin.com, where fans will be able to post their own versions of tracks from ‘Year Zero’.

Talking to Alternative Press, NIN front man Trent Reznor said: “Remix records can be disposable garbage (of which I myself have been guilty to some extent) but this collection feels good to me.”

‘Y34RZ3ROR3M1X3D’ is due for release on November 21.

The full list of remixers is as follows:

‘Gunshots By Computer’ – Saul Williams

‘The Great Destroyer’ – Modwheelmood

‘My Violent Heart’ – Pirate Robot Midget

‘The Beginning Of The End’ – Ladytron

‘Survivalism’ – Saul Williams

‘Capital G’ – Epworth Phones

‘Vessel’ – Bill Laswell

‘The Warning’ – Stefan Goodchild featuring Doudou n’Diaye Rose

‘Meet Your Master’ – The Faint

‘God Given’ – Stephen Morris & Gillian Gilbert

‘Me, I’m Not’ – Olof Dreijer

‘Another Version Of The Truth’ – Kronos Quartet & Enrique Gonzalez Müller

‘In This Twilight’ – Fennesz

‘Zero Sum’ – Stephen Morris & Gillian Gilbert

As previously reported, Nine Inch Nails have recently parted with their major label record company after 18 years.

Click here for more information.

Radiohead Announce Record Deal

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Radiohead Announce Record Deal

Radiohead have confirmed that their latest album 'In Rainbows is to get a physical release, after the band signed a new 'conventional' record deal with independent label XL Recordings. Radiohead's seventh album, their first since 2004, and the end of their deal with EMI Records, was released on October 10 as a download only release through their own website. The band also caused a stir by allowing fans to name their own price for the album. The new signing means that XL will handle the album's physical CD release and distribution early next year. XL founder Richard Russell explained the liaision: "Radiohead are a constant inspiration to us all, because they unfailingly put creativity first. XL is more than honoured to be working with Radiohead." The label's Managing Director Ben Beardsworth added: "Radiohead have created a huge amount of excitement via the unique way in which they launched this campaign online, 'In Rainbows' is truly a classic album and it deserves to reach a massive audience, well beyond that of download and boxset sales. We will be working closely with them to help deliver that." Radiohead join new XL label mates The White Stripes and Dizzee Rascal. The British label has also previously released Thom Yorke's solo album 'The Eraser'. An exact release date for the CD version of the album is yet to be confirmed, although Radiohead's managers Bryce Edge and Chris Hufford revealed on Radio 4 last month that the album could possibly be released as early as January. 'In Rainbows' is currently only available exclusively through Radiohead.com.

Radiohead have confirmed that their latest album ‘In Rainbows is to get a physical release, after the band signed a new ‘conventional’ record deal with independent label XL Recordings.

Radiohead’s seventh album, their first since 2004, and the end of their deal with EMI Records, was released on October 10 as a download only release through their own website.

The band also caused a stir by allowing fans to name their own price for the album. The new signing means that XL will handle the album’s physical CD release and distribution early next year.

XL founder Richard Russell explained the liaision: “Radiohead are a constant inspiration to us all, because they unfailingly put creativity first. XL is more than honoured to be working with Radiohead.”

The label’s Managing Director Ben Beardsworth added: “Radiohead have created a huge amount of excitement via the unique way in which they launched this campaign online, ‘In Rainbows’ is truly a classic album and it deserves to reach a massive audience, well beyond that of download and boxset sales. We will be working closely with them to help deliver that.”

Radiohead join new XL label mates The White Stripes and Dizzee Rascal. The British label has also previously released Thom Yorke’s solo album ‘The Eraser’.

An exact release date for the CD version of the album is yet to be confirmed, although Radiohead’s managers Bryce Edge and Chris Hufford revealed on Radio 4 last month that the album could possibly be released as early as January.

‘In Rainbows’ is currently only available exclusively through Radiohead.com.

The Uncut Playlist

John Mulvey
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The new Cat Power album just arrived - or at least a stream of it arrived onto my computer - so that's playing as I write this morning. Sounds pretty good, with a remarkable version of "New York New York" to kick things off, but I'll blog about it properly in the next few days. For today, though, I think these are all the records we've played in the Uncut office over the past 24 hours. 1 Various Artists - Reggae Pressure: Boss Sounds 1968 to 1970 (Trojan) 2 Lee Hazlewood - The Very Special World Of Lee Hazlewood (Water) 3 Hadouken! - Not Here To Please You (Atlantic) 4 Various Artists - I'm Not There (Columbia) 5 Jay-Z - American Gangster (Roc-A-Fella) 6 LCD Soundsystem - Someone Great + Mixes (DFA) 7 John Fahey - Yes! Jesus Loves Me (Takoma/Ace) 8 Black Mountain - In The Future (Jagjaguwar) 9 Neon Neon - Raquel (Lex) 10 Dawn Landes - Bodyguard (Fargo) 11 Fatima Mansions - Viva Dead Ponies (Kitchenware) 12 Laguna Meth - Laguna The Puma (Island) 13 Dion - Don't Start Me Talking: Columbia Recordings 1962-65 (SPV Blue) 14 The Necks - Townsville (ReR Megacorp) 15 Cat Power - Jukebox (matador)

The new Cat Power album just arrived – or at least a stream of it arrived onto my computer – so that’s playing as I write this morning. Sounds pretty good, with a remarkable version of “New York New York” to kick things off, but I’ll blog about it properly in the next few days.

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