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Killing Joke’s Bassist has Died

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Killing Joke’s Bassist has Died

Paul Raven, the bass player with Killing Joke and Ministry has passed away unexpectedly aged just 46. Raven had been recording in a Swiss studio in Geneva with Ted Parsons and Marco Neves in Geneva for the band Treponem Pal when his death occured after a day's recording. Born in Wolverhampton in 1961, Raven was a prolific musician and at various times in his life he played and wrote with several bands including Ministry, Godflesh, Prong, Pigface, Murder Inc and Amen. Killing Joke's frontman (pictured with Raven above) said earlier today: ''We are all deeply stricken with grief at the unannounced departure of possibly the funniest man on planet Earth and a brother to us all. Paul Vincent Raven unimaginable sadness is felt by all". Raven's brother Dan added: ''We are in deep shock and we miss him a great deal. We love him". His funeral is to be held in coming weeks, for more information on where to send floral tributes etc, go to www.killingjoke.com or www.myspace.com/killingjokeofficial.

Paul Raven, the bass player with Killing Joke and Ministry has passed away unexpectedly aged just 46.

Raven had been recording in a Swiss studio in Geneva with Ted Parsons and Marco Neves in Geneva for the band Treponem Pal when his death occured after a day’s recording.

Born in Wolverhampton in 1961, Raven was a prolific musician and at various times in his life he played and wrote with several bands including Ministry, Godflesh, Prong, Pigface, Murder Inc and Amen.

Killing Joke’s frontman (pictured with Raven above) said earlier today: ”We are all deeply stricken with grief at the unannounced departure of possibly the funniest man on planet Earth and a brother to us all. Paul Vincent Raven unimaginable sadness is felt by all”.

Raven’s brother Dan added: ”We are in deep shock and we miss him a great deal. We love him”.

His funeral is to be held in coming weeks, for more information on where to send floral tributes etc, go to www.killingjoke.com or www.myspace.com/killingjokeofficial.

Deep Purple Man Premiers Classical Tribute

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Deep Purple Man Premiers Classical Tribute

Heavy metal veteran Jon Lord premiered a brand new classical piece at Durham Cathedral to celebrate the city's University's birthday on Saturday (October 20). The co-founder of Deep Purple and member of Whitenake created a six-part musical piece entitled 'Durham Concerto' as a tribute to Durham University's 175th birthday. Perfomed by the Liverpool Philharmonic Orchestra and conducted by Mischa Darmev, Jon Lord himself performed on Hammond organ. The six connected parts, which lasted just over hour in total represented difeferent parts of a day in Durham. Jon Lord, a classically trained musician and composer quit Deep Purple in 2002 to concentrate on creating more classical music. Pic credit: Redferns

Heavy metal veteran Jon Lord premiered a brand new classical piece at Durham Cathedral to celebrate the city’s University’s birthday on Saturday (October 20).

The co-founder of Deep Purple and member of Whitenake created a six-part musical piece entitled ‘Durham Concerto’ as a tribute to Durham University’s 175th birthday.

Perfomed by the Liverpool Philharmonic Orchestra and conducted by Mischa Darmev, Jon Lord himself performed on Hammond organ.

The six connected parts, which lasted just over hour in total represented difeferent parts of a day in Durham.

Jon Lord, a classically trained musician and composer quit Deep Purple in 2002 to concentrate on creating more classical music.

Pic credit: Redferns

Musings on Dylan “biopic”, I’m Not There

Michael Bonner
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"Never create anything," says, uh, "Bob Dylan". "It'll just be misinterpreted." Just as Dylan himself has been open to an awful lot of misinterpretation over the years, it seems highly likely the same fate could befall Todd Haynes' film I'm Not There, which I saw this morning, ahead of its first public screening next Saturday (Oct 27), at the London Film Festival. As a cinematic experiment, I'm Not There is fascinating. The idea of casting six different actors as various aspects of Dylan is in itself a brave conceit. But what's important to flag up is that this is not, strictly speaking, a biopic, as linear as Ray or Walk The Line. Only Cate Blanchett's Jude Quinn is locked to a specific chapter of Dylan's career -- from playing the Newport festival (or, as it is here, the New England Jazz & Folk Festival) to his tour of England in 1966. We get the "Judas!" moment at Manchester Free Trade Hall, and a motorcycle crash. These things we know, at least, are facts. The other "Dylans" in the film loosely correspond to his life, or aspects of it. Christian Bale's Jack Rollins is clearly Dylan the protest singer who, later in the film, turns to Christianity, as Dylan himself did in the 1970s. The section featuring Heath Ledger's actor Robbie Clark deals with his split with wife Claire, an artist played by Charlotte Gainsbourgh, who seems to be a composite of Suze Rotolo and Sara Lownds. Marcus Carl Franklin's Woddy Guthrie is a nine year-old black kid riding the rails and Ben Wishaw's Arthur Rimbaud references Dylan-as-poet. Finally, there's Richard Gere's Billy The Kid, inhabiting a Wild West inspired by the offbeat costumery and make-up on the Rolling Thunder tour and the sleeve of The Basement Tapes. This is a much more impressionistic take on Dylan's art, perhaps, than anything recognisably biographical. What I think surprised me most of all is how playful the film is, stylistically. He mixes faux documentary footage (notably the straight to camera reminiscences of Julianne Moore's Joan Baez analog "Alice Fabian") with fantasy sequences, like Quinn floating off into the sky on a balloon. The Beatles briefly cameo, rolling around on the lawn of a posh country house, their voices speeded-up and helium squeaky. It's also very beautiful to look at, from the crisp black-and-white of the Quinn sequences, to the rich, Sirk-style Technicolor Haynes deploys to shoot the landscape in the Billy The Kid segment. He loops around the place, too, jumping between stories, chronology never safe. One minute, we're in amphetamined Sixties' London, the next jumping trains in 1959. At one point, two "Dylans" meet -- though the outcome is nowhere near as disastrous as, say, two different incarnations of Doctor Who crossing timelines. I guess what you want to know is: is it any good? Well, yes, it is. I have minor reservations. I thought Bale's performance conspicuously mannered, and the Billy The Kid episode meandered a bit too much for my liking. The film's emotional core comes from Ledger and Gainsbourgh and their disintegrating relationship. Blanchett, though, is extraordinary; she's *got* Dylan, perfectly. I'd have been happy, in a way, for Haynes to have turned in a shot-for-shot remake of Dont Look Back with Blanchett. That would have been a hoot, though probably met with the kind of hostility that greeted Gus Van Sant's much misunderstood remake of Psycho. Talking of hostility, I've not yet encountered any negative response to the film. Admittedly, most of my discussions have been with other film critics, who perhaps have a different take to the more hardened Bobcats. Reading the production notes, there's an interesting quote from Haynes, when he relates a conversation he had with Dylan's long-term manager, Jeff Rosen. "I didn't want this film to just be about who Dylan married or what drugs he did and all those things that biopics relish. I wanted to do it right. Once, I was talking to Jeff Rosen and I said, 'This is a big honour! I feel I have to represent Dylan to the world and I want to do it accurately and carefully!' And Jeff just said: 'Todd, don't even think about that. This is your own weird interpretation of Bob Dylan, and that's all you have to worry about.'" Fair point. I'm Not There opens in the UK in December. The soundtrack is out on Columbia Records on Oct 29.

“Never create anything,” says, uh, “Bob Dylan”. “It’ll just be misinterpreted.”

Just as Dylan himself has been open to an awful lot of misinterpretation over the years, it seems highly likely the same fate could befall Todd Haynes’ film I’m Not There, which I saw this morning, ahead of its first public screening next Saturday (Oct 27), at the London Film Festival.

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Eastern Promises

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Eastern Promises

DIR: DAVID CRONENBERG ST: VIGGO MORTENSEN, NAOMI WATTS PLOT SYNOPSIS Nikolai (Mortensen) is a shady odd-job man for the Russian mafia in London. When a midwife (Watts) investigates the death of a young prostitute, trust amongst the "family" is tested. The dead girl's diary yields secrets which unleash fury and vengeance. THE first two scenes feature a graphic throat-slitting and a dying woman haemorrhaging prior to giving birth, so Cronenberg clearly feels his history of violence has not yet fully run its course. It's disconcerting to find him filming in London, from a screenplay by Steve (Dirty Pretty Things) Knight: the Canadian renders the familiar creepy, something he's always done masterfully. Here he takes Knight's story of a hidden underworld of displaced immigrants, and paints it black. If you thought the organ-harvesting of Turks in Stephen Frears' film was a distance from the London tourist guide, you'll be appalled at what the Russians get up to. Topical on the back of the Litvinenko poisoning, this explores sex trafficking, contract murders and the unique ruthlessness of the Soviet mafia. Mortensen read a lot of Dostoevsky before tackling his second consecutive Cronenberg lead role. And he begins existentially subdued as Nikolai, a driver with a sideline in corpse-disposal for crime-lord Semyon (Armin Mueller-Stahl) and his erratic, hotheaded son Kirill (Vincent Cassel). "Ah, sentimental value", he deadpans. "I've heard of that." These are not men to upset, but motor-biking midwife Anna (Watts) does just that. She tries to trace the relatives of a girl who's died in hospital, by translating her diary - a grotesque litany of rape, abuse and prostitution. Rashly, Anna, of Russian heritage, picks at scabs. Danger looms, but Nikolai seems to bend his bosses' rules to protect her. He's capable of chilling deeds, but only gradually reveals his full hand... The film broods through scenes of constant rain and veiled threats in dodgy accents before exploding into set-pieces of overwhelming, bloody violence. Characters voice outrageous racist, homophobic and sexist beliefs ("slaves give birth to slaves"), which compound their callousness. Mortensen, whose initial shades-and-black-gloves posture is as subtle as stamping the word "sinister" on his brow, doesn't flinch at removing dead men's fingers, fighting two hitmen stark naked, or, in a very Cronenberg touch, extinguishing a cigarette on his tongue. If that's a lift from Videodrome, the bleak mood recalls Spider while the bombshell twists echo eXistenZ. Tattoos resonate symbolically. It's as uncomfortable as you'd expect, but set in a recognisable reality, from Chelsea-supporting football crowds (could that be a sly Abramovich-related joke?) to the skankier sides of Kilburn and Hackney. It's no classic, as the script's socio-political specifics prevent it matching the allegorical heights of his last study of a mystery man's motivations. Yet, hypnotic and somewhat queasy, it delivers the director's trademark traumas in abundance. CHRIS ROBERTS

DIR: DAVID CRONENBERG

ST: VIGGO MORTENSEN, NAOMI WATTS

PLOT SYNOPSIS

Nikolai (Mortensen) is a shady odd-job man for the Russian mafia in London. When a midwife (Watts) investigates the death of a young prostitute, trust amongst the “family” is tested. The dead girl’s diary yields secrets which unleash fury and vengeance.

THE first two scenes feature a graphic throat-slitting and a dying woman haemorrhaging prior to giving birth, so Cronenberg clearly feels his history of violence has not yet fully run its course. It’s disconcerting to find him filming in London, from a screenplay by Steve (Dirty Pretty Things) Knight: the Canadian renders the familiar creepy, something he’s always done masterfully. Here he takes Knight’s story of a hidden underworld of displaced immigrants, and paints it black. If you thought the organ-harvesting of Turks in Stephen Frears‘ film was a distance from the London tourist guide, you’ll be appalled at what the Russians get up to. Topical on the back of the Litvinenko poisoning, this explores sex trafficking, contract murders and the unique ruthlessness of the Soviet mafia.

Mortensen read a lot of Dostoevsky before tackling his second consecutive Cronenberg lead role. And he begins existentially subdued as Nikolai, a driver with a sideline in corpse-disposal for crime-lord Semyon (Armin Mueller-Stahl) and his erratic, hotheaded son Kirill (Vincent Cassel). “Ah, sentimental value”, he deadpans. “I’ve heard of that.” These are not men to upset, but motor-biking midwife Anna (Watts) does just that. She tries to trace the relatives of a girl who’s died in hospital, by translating her diary – a grotesque litany of rape, abuse and prostitution. Rashly, Anna, of Russian heritage, picks at scabs. Danger looms, but Nikolai seems to bend his bosses’ rules to protect her. He’s capable of chilling deeds, but only gradually reveals his full hand…

The film broods through scenes of constant rain and veiled threats in dodgy accents before exploding into set-pieces of overwhelming, bloody violence. Characters voice outrageous racist, homophobic and sexist beliefs (“slaves give birth to slaves”), which compound their callousness. Mortensen, whose initial shades-and-black-gloves posture is as subtle as stamping the word “sinister” on his brow, doesn’t flinch at removing dead men’s fingers, fighting two hitmen stark naked, or, in a very Cronenberg touch, extinguishing a cigarette on his tongue. If that’s a lift from Videodrome, the bleak mood recalls Spider while the bombshell twists echo eXistenZ. Tattoos resonate symbolically. It’s as uncomfortable as you’d expect, but set in a recognisable reality, from Chelsea-supporting football crowds (could that be a sly Abramovich-related joke?) to the skankier sides of Kilburn and Hackney.

It’s no classic, as the script’s socio-political specifics prevent it matching the allegorical heights of his last study of a mystery man’s motivations. Yet, hypnotic and somewhat queasy, it delivers the director’s trademark traumas in abundance.

CHRIS ROBERTS

Stardust

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Stardust

DIR: MATTHEW VAUGHN ST: MICHELLE PFEIFFER, ROBERT DE NIRO In what appears to be, on paper at least, the year's oddest movie grouping, this adaptation of comic author Neil Gaiman's very British fantasy epic is directed by Guy Ritchie's former producer and stars Robert De Niro as a gay pirate. As it is, Vaughn was originally scheduled to direct X Men 3, so presumably has some handle on a universe beyond East London lags beating the shit out of each other with lead piping. De Niro, we know, does comedy well, and with a supporting cast including Ricky Gervais, David Walliams and ex-Green Wingers, there's the makings here of a clever, witty romp along the lines of The Princess Bride. We're in the sleepy village of Wall that borders the land of Fairie. After seeing a falling star land just on the other side of the magical wall, local lad Tristran Thorne (Charlie Cox) vows to find it and bring it back and present it to his paramour Victoria (Sienna Miller) as a love token. Once in Fairie, Tristran finds the star, now in human form as Yvaine (Claire Danes). She's being hunted by witch Lamia (Michelle Pfeiffer), who wants to use Yvaine's life to extend her own, and the seven heirs to the throne of Stormhold, whose number rapidly diminishes as they off each other as they story progresses. A steady stream of star cameos buoy the narrative along, and Gaiman's inventive, playful source material is well served by the script writers (who include Mrs Jonathan Ross). But, crucially, Cox and Daines lack requisite chemistry and while much around them dazzles, they conspicuously fail to shine. MICHAEL BONNER

DIR: MATTHEW VAUGHN

ST: MICHELLE PFEIFFER, ROBERT DE NIRO

In what appears to be, on paper at least, the year’s oddest movie grouping, this adaptation of comic author Neil Gaiman‘s very British fantasy epic is directed by Guy Ritchie‘s former producer and stars Robert De Niro as a gay pirate. As it is, Vaughn was originally scheduled to direct X Men 3, so presumably has some handle on a universe beyond East London lags beating the shit out of each other with lead piping.

De Niro, we know, does comedy well, and with a supporting cast including Ricky Gervais, David Walliams and ex-Green Wingers, there’s the makings here of a clever, witty romp along the lines of The Princess Bride.

We’re in the sleepy village of Wall that borders the land of Fairie. After seeing a falling star land just on the other side of the magical wall, local lad Tristran Thorne (Charlie Cox) vows to find it and bring it back and present it to his paramour Victoria (Sienna Miller) as a love token. Once in Fairie, Tristran finds the star, now in human form as Yvaine (Claire Danes). She’s being hunted by witch Lamia (Michelle Pfeiffer), who wants to use Yvaine’s life to extend her own, and the seven heirs to the throne of Stormhold, whose number rapidly diminishes as they off each other as they story progresses.

A steady stream of star cameos buoy the narrative along, and Gaiman’s inventive, playful source material is well served by the script writers (who include Mrs Jonathan Ross). But, crucially, Cox and Daines lack requisite chemistry and while much around them dazzles, they conspicuously fail to shine.

MICHAEL BONNER

The Who To Launch Film With London Bash

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The Who To Launch Film With London Bash

The Who are to launch their two new documentary films ‘Amazing Journey: The Story Of The Who’ and 'Amazing Journey: Six Quick Ones' with a London premiere next month. Released on November 5, the rockers' two career spanning films include new, exclusive interviews with founder members Pete Townshend and Roger Daltrey as well as rare and recently uncovered live concert footage. The premiere, hosted by Townshend and Daltrey will take place in High Street Kensington on November 5 November. The event will also be satellite screened to seven other major UK cities. Tickets are available to buy from £12.50, unless otherwise stated. The venues are: Kensington (main event) £25 Norwich Cardiff Manchester Printworks (screen 2) London Covent Garden (£15) Birmingham Sheffield Southampton Maidenhead Wimbledon (£15) Tonbridge Wells (£15) Liverpool Bath Guildford (£15) Grenwich 'Amazing Journey: The Story Of The Who' is released through Universal Studios Home Entertainment. A special edition double disc DVD comes with a second feature film Amazing Journey: Six Quick Ones, a Collector's Edition booklet and exclusive unseen DVD Bonus content. Pic credit: Rex Features

The Who are to launch their two new documentary films ‘Amazing Journey: The Story Of The Who’ and ‘Amazing Journey: Six Quick Ones’ with a London premiere next month.

Released on November 5, the rockers’ two career spanning films include new, exclusive interviews with founder members Pete Townshend and Roger Daltrey as well as rare and recently uncovered live concert footage.

The premiere, hosted by Townshend and Daltrey will take place in High Street Kensington on November 5 November.

The event will also be satellite screened to seven other major UK cities. Tickets are available to buy from £12.50, unless otherwise stated.

The venues are:

Kensington (main event) £25

Norwich

Cardiff

Manchester Printworks (screen 2)

London Covent Garden (£15)

Birmingham

Sheffield

Southampton

Maidenhead

Wimbledon (£15)

Tonbridge Wells (£15)

Liverpool

Bath

Guildford (£15)

Grenwich

‘Amazing Journey: The Story Of The Who’ is released through Universal Studios Home Entertainment.

A special edition double disc DVD comes with a second feature film Amazing Journey: Six Quick Ones, a Collector’s Edition booklet and exclusive unseen DVD Bonus content.

Pic credit: Rex Features

Bonzo Dog Doo-Dah Band Make First New Album In 35 Years

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Bonzo Dog Doo-Dah Band Make First New Album In 35 Years

The Bonzo Dog Doo-Dah Band have made their first studio album in 35 years - with new members Adrian Edmondson, Stephen Fry and Phill Jupitus joining the original bonkers gang. Original members Neil Innes, Roger Ruskin Spear, Rodney Slater, 'Legs' Larry Smith, vernon Dudley Bohay-Nowell, Sam Spoons and Bob Kerr have responded to the enthusiasm that has greeted them during their 40th anniversary tour, and created a brand new album. 'Pour L'Amour Des Chiens' features 70 minutes worth of new material from Neil Innes and co, 28 tracks - one of which is their own rendition of Kaiser Chiefs' 'I Predict A Riot'. The album, released on December 10, will also come with a bonus DVD - featuring previously unreleased live performances. Tracks include the classic 'Urban Spaceman' and 'Jollity Farm'. Bonzo Dog Doo-Dah Band will be playing two shows 'It's A Yappy Christmas' at London's Shepherd's Bush Empire, on December 21 and 22. More tour dates are expected to be added soon.

The Bonzo Dog Doo-Dah Band have made their first studio album in 35 years – with new members Adrian Edmondson, Stephen Fry and Phill Jupitus joining the original bonkers gang.

Original members Neil Innes, Roger Ruskin Spear, Rodney Slater, ‘Legs’ Larry Smith, vernon Dudley Bohay-Nowell, Sam Spoons and Bob Kerr have responded to the enthusiasm that has greeted them during their 40th anniversary tour, and created a brand new album.

‘Pour L’Amour Des Chiens’ features 70 minutes worth of new material from Neil Innes and co, 28 tracks – one of which is their own rendition of Kaiser Chiefs‘ ‘I Predict A Riot’.

The album, released on December 10, will also come with a bonus DVD – featuring previously unreleased live performances. Tracks include the classic ‘Urban Spaceman’ and ‘Jollity Farm’.

Bonzo Dog Doo-Dah Band will be playing two shows ‘It’s A Yappy Christmas’ at London’s Shepherd’s Bush Empire, on December 21 and 22.

More tour dates are expected to be added soon.

Uncut’s Worst Gigs – Ever!

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Uncut’s Worst Gigs – Ever!

In last month's UNCUT, our writers, friends and favourite musicians reminisced about their favourite gigs. Well, in this month’s issue we’re looking back on the worst gigs we’ve ever seen - including The Stone Roses, Bob Dylan, Kevin Rowland and David Bowie - with rare photos from the shows too. We're also going to publish one of the worst gigs every day, with online exclusives, so feast your eyes on this, and be glad you weren’t there! ***** 4 | THE SEX PISTOLS Finsbury Park, London, June 23, 1996 JOHN LEWIS: A surreal, horrifying spectacle, dripping with cynicism, couched in inverted commas and lapped up by a largely loathsome 30,000-strong crowd of neo-Nazi Oi! scum. Expectations were, hilariously in retrospect, high: the sun shined, the mood was buoyant, and the support acts – including 3 Colours Red, Buzzcocks and Iggy Pop – none too shabby. Sadly, the Pistols really were absolutely fucking awful. Shorn of context, youth and art-school posturing, they’d mutated into a comedy HM band. Witness Steve Jones, with his fat arse and beer belly crammed into a tight pair of tiger-skin strides. Glen Matlock looked like he’d just been beaten up by the rest of the band. And dear, dear Johnny, his thinning hair dyed green, his rotund frame crammed into a check suit as he harrumphed his way through the lyric sheet. But it was those vast sections of the crowd – flinging pint after pint of beer at the stage, chanting homophobic remarks at Pete Shelley, shouting sexist abuse at Skin from Skunk Anansie – who reminded you just how horrible the ’80s fag ends of punk were. The Pistols were, believe it or not, introduced on stage by Stuart Pearce and Gareth Southgate, who had, 24 hours earlier, been part of an England side who’d beaten Spain in the Euro 96 quarter finals. Three days later, a still shell-shocked Southgate would miss a penalty in the semi-final against Germany. Ever get the feeling you’ve been cheated? ***** plus WERE YOU THERE? Not even UNCUTs war-weary gig-hounds have been to every show in history – but you lot probably have. Email Allan_Jones@ipcmedia.com to share your memories, of the ones we've published or any which we have missed, and we’ll publish the best in a future issue

In last month’s UNCUT, our writers, friends and favourite musicians reminisced about their favourite gigs.

Well, in this month’s issue we’re looking back on the worst gigs we’ve ever seen – including The Stone Roses, Bob Dylan, Kevin Rowland and David Bowie – with rare photos from the shows too.

We’re also going to publish one of the worst gigs every day, with online exclusives, so feast your eyes on this, and be glad you weren’t there!

*****

4 | THE SEX PISTOLS

Finsbury Park, London, June 23, 1996

JOHN LEWIS: A surreal, horrifying spectacle, dripping with cynicism, couched in inverted commas and lapped up by a largely loathsome 30,000-strong crowd of neo-Nazi Oi! scum. Expectations were, hilariously in retrospect, high: the sun shined, the mood was buoyant, and the support acts – including 3 Colours Red, Buzzcocks and Iggy Pop – none too shabby.

Sadly, the Pistols really were absolutely fucking awful. Shorn of context, youth and art-school posturing, they’d mutated into a comedy HM band. Witness Steve Jones, with his fat arse and beer belly crammed into a tight pair of tiger-skin strides. Glen Matlock looked like he’d just been beaten up by the rest of the band. And dear, dear Johnny, his thinning hair dyed green, his rotund frame crammed into a check suit as he harrumphed his way through the lyric sheet.

But it was those vast sections of the crowd – flinging pint after pint of beer at the stage, chanting homophobic remarks at Pete Shelley, shouting sexist abuse at Skin from Skunk Anansie – who reminded you just how horrible the ’80s fag ends of punk were. The Pistols were, believe it or not, introduced on stage by Stuart Pearce and Gareth Southgate, who had, 24 hours earlier, been part of an England side who’d beaten Spain in the Euro 96 quarter finals. Three days later, a still shell-shocked Southgate would miss a penalty in the semi-final against Germany. Ever get the feeling you’ve been cheated?

*****

plus WERE YOU THERE?

Not even UNCUTs war-weary gig-hounds have been to every show in history – but you lot probably have.

Email Allan_Jones@ipcmedia.com to share your memories, of the ones we’ve published or any which we have missed, and we’ll publish the best in a future issue

The Verve Reveal New Song Titles

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The Verve Reveal New Song Titles

The Verve have revealed the names of some of their new songs, the first new material they have written in over ten years. This news comes following the band’s reunion earlier this year. Bassist Simon Jones posted on his blog the titles of some of the new tracks, which may feature live next month when the group emabark on their reunion tour. The song titles exposed are ‘Sit And Wonder’, ‘Mona Lisa’, ‘Judas’, ‘Appalachian Springs’ and ‘Rather Be’. Jones added that the band comprising original band members Richard Ashcroft, Nick McCabe and Pete Sailsbury had written plenty of new material and that they are plannning to record next year. “September was spent in Terry Britten’s amazing studio in Richmond. The sessions have been pretty amazing, we certainly have an embarrassment of riches where material is concerned!” He added: “We will need to do a lot of listening over the next few months before we reconvene in the New Year to pull it all together!” More information about the band's comeback shows and to join the mailing list, click here for www.theverve.tv. The band are now playing the following dates: Glasgow Academy (November 2,3) Blackpool Empress Ballroom (5,6) London Roundhouse (8,9) London O2 Arena (December 13) Glasgow SECC (15) Belfast Odyssey Arena (17) Manchester Central (20, 21) Pic credit: Dean Chalkley

The Verve have revealed the names of some of their new songs, the first new material they have written in over ten years. This news comes following the band’s reunion earlier this year.

Bassist Simon Jones posted on his blog the titles of some of the new tracks, which may feature live next month when the group emabark on their reunion tour.

The song titles exposed are ‘Sit And Wonder’, ‘Mona Lisa’, ‘Judas’, ‘Appalachian Springs’ and ‘Rather Be’.

Jones added that the band comprising original band members Richard Ashcroft, Nick McCabe and Pete Sailsbury had written plenty of new material and that they are plannning to record next year.

“September was spent in Terry Britten’s amazing studio in Richmond. The sessions have been pretty amazing, we certainly have an embarrassment of riches where material is concerned!”

He added: “We will need to do a lot of listening over the next few months before we reconvene in the New Year to pull it all together!”

More information about the band’s comeback shows and to join the mailing list, click here for www.theverve.tv.

The band are now playing the following dates:

Glasgow Academy (November 2,3)

Blackpool Empress Ballroom (5,6)

London Roundhouse (8,9)

London O2 Arena (December 13)

Glasgow SECC (15)

Belfast Odyssey Arena (17)

Manchester Central (20, 21)

Pic credit: Dean Chalkley

Explosions In The Sky To Curate ATP Weekend

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Explosions In The Sky To Curate ATP Weekend

Melodic noise prog-rockers Explosions In The Sky have been confirmed as curators for next Spring's second weekend of All Tomorrow's Parties festival. They will curate and play over the weekend of May 16-18 and bands already booked include Dinosaur Jr, Broken Social Scene, And You will Know Us By The Trail of Dead, Iron And Wine and Adem. Details of ATP weekend one, taking place the preceeding week from May 9 -11 will seen bands such as Ween, Sebadoh and Pissed Jeans play the Pitchfork media curated event. More information on weekend one is available here. More bands for both weekend's line-ups will be announced through the coming months. Tickets, priced at £140 for 3-days incl. accomodation for the All Tomorrow’s Parties can be purchased directly through www.atpfestival.com and are available in blocks of 4,5,6,7 or 8.

Melodic noise prog-rockers Explosions In The Sky have been confirmed as curators for next Spring’s second weekend of All Tomorrow’s Parties festival.

They will curate and play over the weekend of May 16-18 and bands already booked include Dinosaur Jr, Broken Social Scene, And You will Know Us By The Trail of Dead, Iron And Wine and Adem.

Details of ATP weekend one, taking place the preceeding week from May 9 -11 will seen bands such as Ween, Sebadoh and Pissed Jeans play the Pitchfork media curated event.

More information on weekend one is available here.

More bands for both weekend’s line-ups will be announced through the coming months.

Tickets, priced at £140 for 3-days incl. accomodation for the All Tomorrow’s Parties can be purchased directly through www.atpfestival.com and are available in blocks of 4,5,6,7 or 8.

Babyshambles To Release First Live DVD

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Babyshambles To Release First Live DVD

Babyshambles' first ever live performance DVD is being released early next month. 'Up The Shambles - Live In Manchester' was filmed at the city's Ritz venue in September 2004, shortly after Pete Doherty's departure from The Libertines. The DVD captures the band performing raw versions of later singles and debut album tracks 'Fuck Forever', 'Killamangiro' and 'Albion' which also features vocals by Dot Allison. Allsion in fact appears as guest vocalist on several of the tracks at the Ritz show. Bonus features include behind-the-scenes footage with Babyshambles, including full Pete Doherty solo acoustic performances of Libertines tracks 'Time For Heroes' and 'Can’t Stand Me Now'. The DVD is released on November 5 through Eagle Vision. Up The Shambles track listing is: 1. The Man Who Came To Stay 2. Do You Know Me 3. In Love With A Feeling 4. Babyshambles 5. Gang of Gin 6. Fuck Forever 7. I Mean You No Harm* 8. Sheepskin 9. Tearaway* 10. Don't Look Back Into the Sun* 11. Time For Heroes* 12. Albion* 13. I Wanna Break Your Heart* 14. What Katy Did 15. Killamangiro 16. My Darling Clementine 17. Blackboy Lane 18. Wolfman *featuring Dot Allison on guest vocals

Babyshambles‘ first ever live performance DVD is being released early next month.

‘Up The Shambles – Live In Manchester’ was filmed at the city’s Ritz venue in September 2004, shortly after Pete Doherty‘s departure from The Libertines.

The DVD captures the band performing raw versions of later singles and debut album tracks ‘Fuck Forever’, ‘Killamangiro’ and ‘Albion’ which also features vocals by Dot Allison.

Allsion in fact appears as guest vocalist on several of the tracks at the Ritz show.

Bonus features include behind-the-scenes footage with Babyshambles, including full Pete Doherty solo acoustic performances of Libertines tracks ‘Time For Heroes’ and ‘Can’t Stand Me Now’.

The DVD is released on November 5 through Eagle Vision.

Up The Shambles track listing is:

1. The Man Who Came To Stay

2. Do You Know Me

3. In Love With A Feeling

4. Babyshambles

5. Gang of Gin

6. Fuck Forever

7. I Mean You No Harm*

8. Sheepskin

9. Tearaway*

10. Don’t Look Back Into the Sun*

11. Time For Heroes*

12. Albion*

13. I Wanna Break Your Heart*

14. What Katy Did

15. Killamangiro

16. My Darling Clementine

17. Blackboy Lane

18. Wolfman

*featuring Dot Allison on guest vocals

Hot Chip Announce One-Off Show

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Hot Chip Announce One-Off Show

Hot Chip have announced that are to play a one-off show at London's Electric Ballroom on November 22, The electro band have also revealed more about what's on their new studio album 'Made In The Dark' - the follow up to last year's Mercury Music Prize nominated 'The Warning'. The album which is not due for release until February 4, is the product of two years of touring, followed by six months in their studio. Hot Chip have transfered many of the songs they've created on the road to the record. Some of the titles of the new 13 track album have been revealed to be; 'Shake A Fist’, ‘Bendable Poseable’, 'We’re Looking For A Lot Of Love’, title-track ‘Made In The Dark’, ‘In The Privacy Of Our Love’, 'Ready For The Floor' and 'One Pure Thought'. 'Shake A Fist' is a track that has already been circulating at clubs - featuring elecrtro wizard Todd Rundgren sampling - the track has caused a buzz since it came out on limited edition etched 12” earlier this year.

Hot Chip have announced that are to play a one-off show at London’s Electric Ballroom on November 22,

The electro band have also revealed more about what’s on their new studio album ‘Made In The Dark‘ – the follow up to last year’s Mercury Music Prize nominated ‘The Warning’.

The album which is not due for release until February 4, is the product of two years of touring, followed by six months in their studio. Hot Chip have transfered many of the songs they’ve created on the road to the record.

Some of the titles of the new 13 track album have been revealed to be;

‘Shake A Fist’, ‘Bendable Poseable’, ‘We’re Looking For A Lot Of Love’, title-track ‘Made In The Dark’, ‘In The Privacy Of Our Love’, ‘Ready For The Floor’ and ‘One Pure Thought’.

‘Shake A Fist’ is a track that has already been circulating at clubs – featuring elecrtro wizard Todd Rundgren sampling – the track has caused a buzz since it came out on limited edition etched 12” earlier this year.

Buzzcocks To Release Live Anniversary Album

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Buzzcocks To Release Live Anniversary Album

Buzzcocks have announced that they are to release a live album from their 30th anniversary tour last year, as a digital release next month. 'Buzzcocks 30' was recorded on the band's birthday tour last year, at the Kentish Town Forum. Fronted by Pete Shelley, the band were inspired by the Sex Pistols to make music, and their debut album 'Another Music In A Different Kitchen' was a huge hit in the 70s punk scene. Buzzcock's best known song 'Ever Fallen in Love (with someone you shouldn’t have)?’ enjoyed a resurrection in 2005 when Pete Shelley re-recorded it with an all-star group, including Roger Daltrey, David Gilmour, Peter Hook, Elton John and Robert Plant amongst others as a tribute to the late Sir John Peel. The live album includes tracks from throughout the band's 11 album spanning career, including 'What Ever Happened To', 'Operator's Manual' and 'Orgasm Addict'. To promote the new live release on November 26, the band will play the following venues: Leeds, Cockpit (November 23) Edinburgh, Liquid Room (24) Manchester, Ritz (25) Wolverhampton, Wulfrun Hall (27) Portsmouth, Wedgewood Rooms (28) Oxford, Academy (29) London, Indig02 (30) More inforamtion is available from the Buzzcocks' official website here:www.buzzcocks.com

Buzzcocks have announced that they are to release a live album from their 30th anniversary tour last year, as a digital release next month.

‘Buzzcocks 30’ was recorded on the band’s birthday tour last year, at the Kentish Town Forum.

Fronted by Pete Shelley, the band were inspired by the Sex Pistols to make music, and their debut album ‘Another Music In A Different Kitchen’ was a huge hit in the 70s punk scene.

Buzzcock’s best known song ‘Ever Fallen in Love (with someone you shouldn’t have)?’ enjoyed a resurrection in 2005 when Pete Shelley re-recorded it with an all-star group, including Roger Daltrey, David Gilmour, Peter Hook, Elton John and Robert Plant amongst others as a tribute to the late Sir John Peel.

The live album includes tracks from throughout the band’s 11 album spanning career, including ‘What Ever Happened To’, ‘Operator’s Manual’ and ‘Orgasm Addict’.

To promote the new live release on November 26, the band will play the following venues:

Leeds, Cockpit (November 23)

Edinburgh, Liquid Room (24)

Manchester, Ritz (25)

Wolverhampton, Wulfrun Hall (27)

Portsmouth, Wedgewood Rooms (28)

Oxford, Academy (29)

London, Indig02 (30)

More inforamtion is available from the Buzzcocks’ official website here:www.buzzcocks.com

Black Mountain: “In The Future”

John Mulvey
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After yesterday’s technical grief, I’ve now managed to play the new Black Mountain album three or four times. There’s a lot of stuff about angels laying their halos down and demons hiding in the shadows here. Blood is spreading across the walls, witchy children have black magic touches and, pointedly, Stephen McBean and Amber Webber chant in “Bright Lights”, “We love the night and all the witchery.” Pretty daft, then, but highly effective when it comes bound up in Black Mountain’s inspired hybrid of stoner rock, ‘70s Krautsynth, parched Neil Youngisms, sludge boogie and any other arcane genres I can fabricate this morning. The Black Mountain Army, should you have missed Uncut’s faint obsession with them in 2006, are a hairy collective who spend their days caring for homeless drug users in their hometown of Vancouver. They still have time, though, to figure in a multitude of bands, and most of them are great. Singer/guitarist Stephen McBean, singer Amber Webber and drummer Joshua Wells figure in Velvetsy drone-poppers The Pink Mountaintops. Bassist Matt Camirand and Wells do dusty Americana in Blood Meridian; Jeremy Schmidt makes orbiting, keyboard prog as Sinoia Caves; and Webber and Wells recently filed a set of stark, torchy folk as Lightning Dust. Black Mountain is the hub band, though, steered by McBean, and the place were all these strains run together and commingle with a distinctly heavier imperative. Their self-titled debut was a big office favourite here in 2006, and ended up at Number Four in our last albums of the year list. I’m not sure “In The Future” is quite that good, but it still feels, on initial acquaintance, like a mighty good record. The strategy is to go for long, brooding atmospherics, punctuated by outbreaks of meticulous heavy riffing. With Schmidt’s keyboards to the forefront, the obvious ‘70s correlative is Deep Purple, not least when “Stormy High” kicks off with such a gallop. But his tastes lean more to Tangerine Dream than Jon Lord this time, so the songs are longer and filled with more gaping, cosmic spaces – “Bright Lights” sprawls out for well over 15 minutes, as a result. It all works, though. At this early stage, I’m liking “Wucan” best, maybe because it’s closest to the bong-headed funk of the first album’s stand-out, “Druganaut”. Also working well this morning: a skanky ramalam called “Evil Ways”; and the frail “Harvest”-like ballad “Stay Free” that a few of you might have found, implausibly, on the soundtrack to “Spiderman 3”. There’s also a new reference point in their apparent desire to borrow everything from a classic Uncut record collection, since “Wild Wind” is a dead ringer for folksy David Bowie, specifically something off “Hunky Dory”. I’ll come back to this one when I’ve played it some more. In the meantime, you can hear some of Black Mountain’s old stuff at their myspace site.

After yesterday’s technical grief, I’ve now managed to play the new Black Mountain album three or four times. There’s a lot of stuff about angels laying their halos down and demons hiding in the shadows here. Blood is spreading across the walls, witchy children have black magic touches and, pointedly, Stephen McBean and Amber Webber chant in “Bright Lights”, “We love the night and all the witchery.”

Continue

Radiohead To Tour In 2008

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Radiohead To Tour In 2008

Radiohead are to tour next year, their management has revealed in an interview with US magazine Billboard. Radiohead's manager Bryce Edge revealed that Radiohead are in talks planning a tour to start in May, that would run on and off until the end of the year. Edge said: "We plan to tour next year, Starting in May through to probably the end of the year, with lots of holidays in that period. "At the moment we are talking with our agents in North America and for the rest of the world, trying to get a schedule which works for the band and works financially." Edge also revealed that Radiohead frontman Thom Yorke isn't overly keen on the idea of touring. "He likes to do shows, but the whole business of schlepping round the world is not top of his favourite things to do," he said. "It's the process of how to do that which is the pain in the neck. They're not road dogs. They never have been." Radiohead's seventh studio album has just been released, for download through their website only. Find out how to get hold of a copy of the In Rainbows album here. Read our first impressions of In Rainbows HERE For Uncut's Track By Track review of In Rainbows: click here.

Radiohead are to tour next year, their management has revealed in an interview with US magazine Billboard.

Radiohead’s manager Bryce Edge revealed that Radiohead are in talks planning a tour to start in May, that would run on and off until the end of the year.

Edge said: “We plan to tour next year, Starting in May through to probably the end of the year, with lots of holidays in that period.

“At the moment we are talking with our agents in North America and for the rest of the world, trying to get a schedule which works for the band and works financially.”

Edge also revealed that Radiohead frontman Thom Yorke isn’t overly keen on the idea of touring.

“He likes to do shows, but the whole business of schlepping round the world is not top of his favourite things to do,” he said. “It’s the process of how to do that which is the pain in the neck. They’re not road dogs. They never have been.”

Radiohead’s seventh studio album has just been released, for download through their website only.

Find out how to get hold of a copy of the In Rainbows album here.

Read our first impressions of In Rainbows HERE

For Uncut’s Track By Track review of In Rainbows: click here.

Today’s Uncut playlist

John Mulvey
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Just spent most of the afternoon in some kind of company blogging seminar (conclusion: I think I may be doing it wrong), to find the new Black Mountain album waiting for me. We're now trying to play it for the third time without it jumping. But in the meantime, here are the day's other selections: a couple of vague dogs in this lot, if memory serves. 1 Pharaoh Sanders - Black Unity (Impulse) 2 White Magic - Dark Stars (Drag City) 3 Tenniscoats - Totemo Aimasho (Room40) 4 Youssou N'Dour - Rokku Mi Rokka (Give And Take) (Nonesuch) 5 A Mountain Of One - Collected Works (10 Worlds) 6 Radiohead - In Rainbows (Waste Products Inc) 7 Beirut - The Flying Club Cup (4AD) 8 Black Mountain - In The Future (Jagjaguwar) I think it might be working this time. . .

Just spent most of the afternoon in some kind of company blogging seminar (conclusion: I think I may be doing it wrong), to find the new Black Mountain album waiting for me. We’re now trying to play it for the third time without it jumping. But in the meantime, here are the day’s other selections: a couple of vague dogs in this lot, if memory serves.

Continue

Cut of the Day: Motorhead Rock With Girschool

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Cut of the Day: Motorhead Rock With Girschool

Cut of the day is Motorhead teaming up Girlschool for their 1981 single 'Please Don't Touch (St Valentines Massacre). Girlschool were a South London all-girl heavy metal group and the year before this 'duet' they had signed to Motorhead frontman Lemmy's record label Bronze. The track reached number 5 in the UK singles chart; check out this carnage of a live performance on Top of the Pops: http://www.youtube.com/watch?v=keO6yo253XY If you have any trouble viewing the embedded video - click here.

Cut of the day is Motorhead teaming up Girlschool for their 1981 single ‘Please Don’t Touch (St Valentines Massacre).

Girlschool were a South London all-girl heavy metal group and the year before this ‘duet’ they had signed to Motorhead frontman Lemmy‘s record label Bronze.

The track reached number 5 in the UK singles chart; check out this carnage of a live performance on Top of the Pops:

If you have any trouble viewing the embedded video – click here.

Uncut’s Worst Gigs – Ever!

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Uncut’s Worst Gigs – Ever!

In last month's UNCUT, our writers, friends and favourite musicians reminisced about their favourite gigs. Well, in this month’s issue we’re looking back on the worst gigs we’ve ever seen - including The Stone Roses, Bob Dylan, Kevin Rowland and David Bowie - with rare photos from the shows too. We're also going to publish one of the worst gigs every day, with online exclusives, so feast your eyes on this, and be glad you weren’t there! ***** 10 | ROLLING STONES Knebworth Fair, Herts, August 21, 1976 CAROL CLERK: In 30-plus years of seeing the Stones, they’ve been good, great, occasionally indifferent and sometimes transcendent. At Knebworth, though, they could’ve been performing like gods and I’d never have noticed. We’d set out with huge expectations, myself and some friends who’d flown in from Northern Ireland. Knebworth was horribly overcrowded. By the time Todd Rundgren’s Utopia came on, we realised that to leave our pitch meant literally walking on top of people squashed together on the ground. Trampling over random legs and feet in the hike to the nearest stinking toilets, queueing, and then desperately trying to relocate our home base occupied the interval and half of Lynyrd Skynyrd’s set. We decided, miserably, against striking out again to find food or drinks. The next big problem was 10cc, whose sound problems caused massive delays. The Stones finally came on, more than two hours late, about the time the concert was supposed to finish. The mood turned ugly in places. One particular fight near us led to a terrifying backward stampede, the sort that could cause serious physical damage, so we kept on retreating, all the way out of Knebworth. I have no idea what the Stones were playing as we left. That night, we really didn’t give a shit. ***** plus WERE YOU THERE? Not even UNCUTs war-weary gig-hounds have been to every show in history – but you lot probably have. Email Allan_Jones@ipcmedia.com to share your memories, of the ones we've published or any which we have missed, and we’ll publish the best in a future issue

In last month’s UNCUT, our writers, friends and favourite musicians reminisced about their favourite gigs.

Well, in this month’s issue we’re looking back on the worst gigs we’ve ever seen – including The Stone Roses, Bob Dylan, Kevin Rowland and David Bowie – with rare photos from the shows too.

We’re also going to publish one of the worst gigs every day, with online exclusives, so feast your eyes on this, and be glad you weren’t there!

*****

10 | ROLLING STONES

Knebworth Fair, Herts, August 21, 1976

CAROL CLERK: In 30-plus years of seeing the Stones, they’ve been good, great, occasionally indifferent and sometimes transcendent. At Knebworth, though, they could’ve been performing like gods and I’d never have noticed.

We’d set out with huge expectations, myself and some friends who’d flown in from Northern Ireland. Knebworth was horribly overcrowded. By the time Todd Rundgren’s Utopia came on, we realised that to leave our pitch meant literally walking on top of people squashed together on the ground. Trampling over random legs and feet in the hike to the nearest stinking toilets, queueing, and then desperately trying to relocate our home base occupied the interval and half of Lynyrd Skynyrd’s set. We decided, miserably, against striking out again to find food or drinks.

The next big problem was 10cc, whose sound problems caused massive delays. The Stones finally came on, more than two hours late, about the time the concert was supposed to finish. The mood turned ugly in places. One particular fight near us led to a terrifying backward stampede, the sort that could cause serious physical damage, so we kept on retreating, all the way out of Knebworth. I have no idea what the Stones were playing as we left. That night, we really didn’t

give a shit.

*****

plus WERE YOU THERE?

Not even UNCUTs war-weary gig-hounds have been to every show in history – but you lot probably have.

Email Allan_Jones@ipcmedia.com to share your memories, of the ones we’ve published or any which we have missed, and we’ll publish the best in a future issue

American Music Club Ready New Album

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American Music Club Ready New Album

Legendary poetic songwriter Mark Eitzel has revealed that a new album by American Music Club is to be released in February next year. The band's ninth studio album 'The Golden Age' features thirteen tracks, and frontman Mark Eitzel says he just "wants to make the best fucked up pop songs out there". Eitzel has also proclaimed reasons for why AMC have returned to lighter folk/pop sound from their earlier albums. Eitzel states on the press release: "1) AMC refutes the label of 'Emo Pioneers'. For the record AMC hate Emo and have never been on the soundtrack for any Warner Brothers network show … yet. 2) Dark music is for people who are healthy enough to take it - and AMC want to appeal to all people - including the sick." Recorded after Eitzel moved to Los Angeles in order to work more closely with AMC lead guitarist Vudi, Eitzel then had to recruit a new rhythm section - as former drummer Tim Mooney and bassist Danny Pearson remained in San Francisco to work on their own projects. The new musicians to work on the AMC album are bassist Sean Hoffman and former The Lark's drummer Steve Didelot. American Music Club originally broke up in the mid '90s after their seventh album 'San Francisco' - and Eitzel went on to release eight solo albums, before regrouping AMC in 2003 after several bands like Radiohead, R.E.M, and Pearl Jam cited them as influences and their status grew. American Music Club will be doing a full UK tour in February 2008, in support of The Golden Age. More details to follow. Check back to www.uncut.co.uk for details. The album is released on February 4, 2008, through Cooking Vinyl. More information about the band is available from their official website here: www.american-music-club.com.

Legendary poetic songwriter Mark Eitzel has revealed that a new album by American Music Club is to be released in February next year.

The band’s ninth studio album ‘The Golden Age’ features thirteen tracks, and frontman Mark Eitzel says he just “wants to make the best fucked up pop songs out there”.

Eitzel has also proclaimed reasons for why AMC have returned to lighter folk/pop sound from their earlier albums.

Eitzel states on the press release: “1) AMC refutes the label of ‘Emo Pioneers’. For the record AMC hate Emo and have never been on the soundtrack for any Warner Brothers network show … yet.

2) Dark music is for people who are healthy enough to take it – and AMC want to appeal to all people – including the sick.”

Recorded after Eitzel moved to Los Angeles in order to work more closely with AMC lead guitarist Vudi, Eitzel then had to recruit a new rhythm section – as former drummer Tim Mooney and bassist Danny Pearson remained in San Francisco to work on their own projects.

The new musicians to work on the AMC album are bassist Sean Hoffman and former The Lark’s drummer Steve Didelot.

American Music Club originally broke up in the mid ’90s after their seventh album ‘San Francisco’ – and Eitzel went on to release eight solo albums, before regrouping AMC in 2003 after several bands like Radiohead, R.E.M, and Pearl Jam cited them as influences and their status grew.

American Music Club will be doing a full UK tour in February 2008, in support of The Golden Age. More details to follow. Check back to www.uncut.co.uk for details.

The album is released on February 4, 2008, through Cooking Vinyl.

More information about the band is available from their official website here: www.american-music-club.com.

Green Man Festival 2008 Tickets Go On Sale

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Green Man Festival 2008 Tickets Go On Sale

Tickets for next Summer's Green Man Festival are to go on sale at the end of the month. The festival set in the surrounds of Glanusk Park in the Brecon Beacons, this year saw trimphant headline slots from Robert Plant & The Strange Sensation, Joanna Newsom and Stephen Malkmus. The sixth annual Green Man festival is scheduled to take place from 15-17 August 2008 and tickets will cost £105 including camping. Keeping the event intimate and family friendly, the capacity for the festival will remain capped at 10,000. Testament to the festival's glowing reviews from fans and music critics - Green Man has been nominated in two categories in the annual UK Festival Awards. If you would like to vote for Green Man as either 'Best Small Festival' or for the 'Grass Roots Award' - click here. Tickets for 2008's festival will go on sale on October 29 at 10am.More details and tickets will be available from the festival website here:www.thegreenmanfestival.co.uk

Tickets for next Summer’s Green Man Festival are to go on sale at the end of the month.

The festival set in the surrounds of Glanusk Park in the Brecon Beacons, this year saw trimphant headline slots from Robert Plant & The Strange Sensation, Joanna Newsom and Stephen Malkmus.

The sixth annual Green Man festival is scheduled to take place from 15-17 August 2008 and tickets will cost £105 including camping.

Keeping the event intimate and family friendly, the capacity for the festival will remain capped at 10,000.

Testament to the festival’s glowing reviews from fans and music critics – Green Man has been nominated in two categories in the annual UK Festival Awards. If you would like to vote for Green Man as either ‘Best Small Festival’ or for the ‘Grass Roots Award’ – click here.

Tickets for 2008’s festival will go on sale on October 29 at 10am.More details and tickets will be available from the festival website here:www.thegreenmanfestival.co.uk

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